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AUTHOR: 


LAW,  HELEN  HULL 


TITLE: 


STUDIES  IN  THE  SONGS 
OF  PLAUTINE  COMEDY 

PLACE* 

MENASHA,  WIS. 

DA  TE : 

[1 9221 


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245  IG  StudxBB  in  the  songs  of  Plzautine  comedy=^  1  hCmi  crof  ormH  n 

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MPNUFfiCTURED   TO   flllM   STPNDRRDS 
BY   APPLIED   IMRGE,     INC. 


SIj^  llniurraitg  af  (Htfitvigxi 


STUDIES  IN  THE  SONGS  OF 
PLAUTINE  COMEDY 


A  DISSERTATION 

SUBMITTED  TO  THE  FACULTY 

OF  THE  GRADUATE  SCHOOL  OF  ARTS  AND  LITERATURE 

IN  CANDIDACY  FOR  THE  DEGREE  OF 

DOCTOR  OF  PHILOSOPHY 

DEPARTMENT  OF  LATIN 


BY 
HELEN  HULL  LAW 


Gbokck  Bamta  Pubushing  CouPAmr 
Memasha.  Wisconsin 


(Hlft  Imttrrfiita  nf  ffllftra30 


STUDIES  IN  THE  SONGS  OF 
PLAUTINE  COMEDY 


A  DISSERTATION 

SUBMITTED  TO  THE  FACULTY 

OF  THE  GRADUATE  SCHOOL  OF  ARTS  AND  LITERATURE 

IN  CANDIDACY  FOR  THE  DEGREE  OF 

DOCTOR  OF  PHILOSOPHY 

DEPARTMENT  OF  LATIN 


BY 
HELEN  HULL  LAW 


^K| 


Gbokgc  Banta  Publishing  Comfamt 
Mkmasba,  Wisconsin 


PREFACE 

My  purpose  in  writing  these  studies  in  the  songs  of  Plautine  com- 
edy is  stated  in  the  introduction  pp.  1-6.  For  the  references  to  the 
plays  of  Plautus  I  have  used  the  Oxford  edition  of  the  plays  edited 
by 'Lindsay  (1903)  and  for  Terence  the  Oxford  edition  edited  by 
Tvrrell  (1902).  I  wish  to  express  my  appreciation  and  gratitude  to 
the  members  of  the  Classical  Faculties  of  the  University  of  Chicago 
and  especially  to  Professor  Henry  W.  Prescott  under  whose  guidance 
this  dissertation  was  written  and  to  whose  most  valuable  assistance 

I  am  indebted  at  every  point. 

Helen  H.  Law 

Meredith  College,  February  15,  1922 


TABLE  OF  CONTENTS 

I  Introduction ^ 

II  Environment  of  Song ' 

III  Technique  of  Entrance ^^ 

IV  Content  of  Song ^7 

V  Function  of  Song '^2 

VI  Analysis  of  Individual  Plays ^7 

VII  Leo's  Theory  of  the  Cantica 1^7 


I.    INTRODUCTION 

Since  Roman  comedy  is  based  upon  the  plays  of  New  Greek 
Comedy  any  study  of  the  cantica  of  the  Latin  plays  must  mvolve  a 
consideration  of  the  scope  of  song  in  the  Greek  originals.  Our  knowl- 
edge of  the  part  played  by  cantica  in  Middle  and  New  Greek  comedy 
is  based  partly  upon  the  external  information  given  by  grammarians 
and  inscriptions  and  partly  upon  a  study  of  the  recently  discovered 
fragments  of  Menander.  It  is  evident  that  the  importance  of  the 
chorus,  already  decreasing  in  the  last  plays  of  Aristophanes,  was  still 
further  decreased  in  later  comedy.'  The  chorus,  as  it  appears  m  the 
fragments  of  Menander,  is  inorganic;  in  several  places  the  word 
XOPOT  appears  at  a  vacant  stage  that  marks  a  pause  m  the  action 
but  no  words  follow  for  the  chorus  to  sing.» 

But  the  choral  part  of  Menander,  if  it  was  song,  would  hardly 
serve  to  explain  the  presence  of  cantica  in  Plautine  comedy  for  the 
cantica  are  monodies,  duets,  and  the  like,  not  choral  songs.     For 
evidence,  therefore,  of  a  possible  background  for  the  Plautme  canttca 
we  are  dependent  upon  such  information  as  we  have  that  proves 
the  existence  of  song  measures  in  later  Greek  comedy.     Even  this 
information  is  not  valid.     We  have  no  knowledge  whether  such  song 
measures  were  parts  of  choral  songs  or  of  songs  sung  by  '"dividual 
actors-  only  in  the  latter  case  would  they  be  pertinent.     And  this 
quite  uncertain  evidence  is  very  slight  in  amount,  based  on  statements 
in  grammarians  and  the  metrical  character  of  extant  fragments. 
The  information  from  the  grammarians  moreover  applies,  for  the 
most  part,  only  to  Menander.     The  only  definite  statement  made 
about  New  Comedy,  in  general,  is  that  its  favorite  meter  was  the 
iambic  trimeter:  i,  niv  Vta  t<?  taM^^Kc?  i^irpv  M  r\Ti^^op  xPVra^,  <''ra.tos 
Si  Kai  iripo^s  Mirpo«.'    The  use  of  trochaic  tetrameter  by  Menander 
is  mentioned:  Kai  mrk  ^h  is   ai    Mt.o^Spou   «coMv5toc.    xj  m^"  y<^P 

.  Vita  Aristophanis  XXVIII  D;  Kaibel  Com.  Grace.  Frag.  Ill  31  (Platonius) 
XII  78  (Evanthius);  Vitruvius  De  Arch.  V  praef.  4. 

•  Bethe  Bcr.  d.  siichs.  Ges.  LX  (1908)  217;  Capps  Four  Plays  of  J'^j'""^^  ;!^'1°' 
71  98  160;  Conrad  Tcchnuj'u:  of  Coniimwus  Action  in  Roman  Comedy  (V)lb)l ,11, 
FHckinger  iopoD  in  Terence's  Heauton,  Ihe  Shifling  of  Choral  R6les  ,n  Menander  and 
.4 ,a/W.  Embolima  Class.  Phil.  VII  (1912)  24  fl,;  Kunst  Sludien zur  ^'^^''^"'[Z) 
schen  Komcdie  (1919)  197  n.  2;  Leo  Plautinisch,  Forschungen  2nd  Edition  (1912) 
226;  Hermes  XLIII  (1912)  166;  Lindsay  Bu.J.  CLXII  (1915)  15 

•  Meineke  Frag.  Com.  Grace,  I  441  Kaibel  op.  cil.  18  line  16. 


Studies  in  the  Songs  of  Plautine  Comedy 


rerpiiiJieTpa  tv  rw  avroo  TroLrjuarL,  irrj  6«  rptjuerpa  (vpiaKtrac,*  and 
**Nam  et  Menander  in  comoediis  frequenter  a  continuatis 
iambicis  versibus  ad  trochaicos  et  rursum  ad  iambicos  redit."' 
Marius  Victorinus  also  says:  "comicum  (carmen)  varia  versuum  et 
modulorum  lege  compositum  reperitur  sicut  plerumque  apud  Menan- 
drum  sed  et  apud  alios  cognoscimus."^  Diphilus  is  associated  with 
Menander  in  the  use  of  the  metrum  Eupolideum  and  the  conclusion 
is  naturally  drawn  from  the  name  of  the  Diphilean  meter  that 
Diphilus  used  it.^  These  statements  indicate  that  iambic  and 
trochaic  measures,  in  the  form  of  trimeters  and  tetrameters  respec- 
tively, were  the  outstanding  features  of  the  metrical  form  of  Menan- 
drian  comedy  and  of  the  works  of  other  playwrights. 

The  fragments  of  the  plays  of  New  Comedy  bear  out  the  testimony 
of  the  grammarians.  The  majority  of  the  verses  are  in  iambic  tri- 
meter; the  trochaic  tetrameter  is  also  frequently  found.  But  there 
are  in  addition  traces  of  a  limited  use  of  anapaests;^  Marx  thinks 
that  he  has  discovered  traces  of  choriambi,  bacchiacs,  and  cretics, 
but  his  evidence  is  doubtful;^  there  are  also  a  few  isolated  cases  of 
dactyls,  elegiacs,  paeons,  and  glyconics.^^  But,  in  general,  in  its 
preference  for  iambic  trimeter,  trochaic  tetrameter  and  anapaests, 
the  extant  fragments  of  New  Comedy  resemble  Epicharmus  rather 
than  Aristophanes.  Nevertheless,  though  the  extended  use  of  a  va- 
riety of  lyric  measures  found  in  Plautus  is  not  paralleled  in  the  extant 
fragments  of  New  Comedy,  our  knowledge  of  New  Comedy  is  incom- 
plete, limited  in  the  main  to  Menander,  and  a  judgment  ex  silentio  is 
dangerous  since  it  may  be  overturned  at  any  time  by  the  discovery  of 
a  papyrus  fragment. 

The  metrical  form  of  Roman  comedy  is  like  that  of  Hellenistic  com- 
edy in  as  far  as  iambic  senarii  and  trochaic  septenarii  exceed  in 
amount  all  other  meters.  The  anapaests,  however,  have  a  wider 
range  and  in  addition  there  are  many  meters  that  do  not  appear  in 
Hellenistic  comedy,  iambic  septenarii  (frequent  in  Old  Greek 
Comedy),  iambic  octonarii  (not  used  to  any  extent  in  Greek  dramatic 


•  Hephaestion  De  carm.  VI     118. 

^  Marius  Victorinus  Keil  6'ra;;/.  Lai.  VI  57. 

•  Marius  Victorinus  Keil  Graju.  Lot.  VI  104. 
'  Meineke  op.  cit.  I  440  ff. 

•  Blass  Hermes  XXXIII,  655. 

•  Stobaeus  V  XXVIII  Hense. 
"  Meineke  op.  cit.  I  44,1  ff. 


Studies  in  the  Songs  of  Plautine  Comedy  3 

poetry),  trochaic  octonarii  (rare  in  Greek  poetry).  The  other  lyric 
measures  used  by  Plautus,  bacchiac,  cretic,  glyconic,  dochmiac, 
choriambic,  Ionic,  versus  Reizianus,  are  all  found  in  Greek  drama 
of  the  fifth  century  but  with  the  important  difference  that  in  the 
earlier  drama  any  one  of  them  is,  in  general,  employed  only  in 
isolated  verses,  not  in  a  series  of  verses.  Furthermore  the  combina- 
tions of  certain  meters  in  the  same  canticum  are  not  paralleled  in  the 
songs  of  fifth  century  Greek  drama.  The  nearest  approach  in  Greek 
literature  to  Plautus'  use  of  the  same  lyrical  measure  in  a  series  of 
verses  is  a  song  recently  discovered  in  Egypt  which  contains  a  suc- 
cession of  dochmii,  twenty  lines  of  dochmiac  monometers.^^  Yet 
Plautus  himself  does  not  use  this  particular  meter  in  this  way. 

In  examining  the  metrical  relation  of  Plautus  and  Terence  to 
their  Greek  originals,  one  must  consider  whether  it  was  the  general 
practice  of  Roman  writers  in  translating  Greek  plays  to  keep  the 
metrical  scheme  of  the  original.     So  few  fragments  of  Roman  tragedy 
are  extant  that  it  is  difficult  to  find  basis  for  a  comparison.     The 
evidence  for  Livius  Andronicus  is  not  trustworthy  enough  to  be  used^^ 
and  very  little  of  the  lyric  part  of  Naevius'  tragedies  is  extant.     Frag- 
ments of  Ennius  show  that  he  occasionally,  at  least,  substituted 
recitative  for  the  original  lyrics  of  the  chorus.     In  one  of  the  two 
certain  cases  of  this,  the  lyric  original  is  also  extant.^^     In  this  use  of 
recitative  for  the  song  of  the  chorus  he  seems  to  have  stood  alone; 
at  least  Accius  and  Pacuvius  provided  song  for  the  chorus.     That 
Plautus  and  Terence  also  extended  the  use  of  trochaic  septenarn  m 
preference  to  the  iambic  trimeter  of  the  original  is  seen  from  the 
passage  of  Marius  Victorinus  (K.  6,  78).  ''Scio  plurimos  adfirmare 
Terentianas  vel  maxime  fabulas  metrum  ac  disciplinam  graecarum 
comoediarum   non   custodisse,    id   est   quas    Menander,    Philemon, 
Diphilus  et  ceteri  ediderunt.     Nostri  enim  in  modulandis  metris  seu 
rhythmis  veteris  comoediae  scriptores  sequi  maluerunt,  id  est  Eupolin, 
Cratinum,  Aristophanem.prologositaque  et  primarum  scaenarum  actus 

"  Grenfell  An  Alexandrian  Erotic  Fragment  (1896).  For  discussion  see  Crusius 
FhU.  LV,  384:  WUamowitz  Nachr.  d.  Gott.  Ges.  (1896)  231. 

»  Marius  Victorinus  K.  VI,  68  and  Terentianus  Maurus  K.  VI,  1931  fif.  state  that 
in  the  I  no  of  Livius  Andronicus  the  chorus  sang  a  hymn  to  Diana,  but  the  authorship 
of  the  play  has  been  questioned.    See  Duckett  Studies  in  Ennius  (1915)  54  n.  4  and 

the  evidence  there  cited.  ,    ,     ,     .    ,  ^      ,^ 

» In  Leo's  view  {De  tragoedia  Romana  (1910)  12  ff.)  all  the  lyric  fragments  are 
monodies  and  none  are  to  be  assigned  to  the  chorus.  Miss  Duckett  ((>/».  ct/.  58  tt.) 
has  shown  the  probability  that  certain  of  the  lyric  fragments  belong  to  the  chorus. 


Studies  in  the  Songs  of  Plautine  Comedy 


trimetris  comprehenderunt  qui  appellantur  quadrati.  postea  inconse- 
quentibus  variaverunt:  modo  enim  trimetros,  modo  addito  quadrante 
vel  semisse  posuerunt,  id  est  semipede  adiecto  vel  integro  pede  iambo 
vel  sesquipede.  haec  per  medios  actus  varie;  rursus  in  exitu  fabularum 
quadrates,  quales  diximus  in  secunda  scaena,  locarunt."  Quin- 
tilian  also  remarks  of  Terence's  plays  (X,  1,99):  ''plus  adhuc  habitura 
gratiae  si  intra  versus  trimetros  stetissent."  Examples  of  this  sub- 
stitution of  tetrameters  for  trimeters  are  found  in  Terence's  Hecyra 
286  ff.  in  comparison  with  its  model,  Apollodorus  Carystius  'E/cupd 
10  K.  and  380  with  frg.  11.  The  trochaic  tetrameter  was,  as  Lindsay 
points  out,  the  popular  meter  of  Rome  after  the  Saturnian  verse  died 
out  and  was  used  by  soldiers  in  their  rude  songs  at  triumphs.^* 

An  important  bit  of  evidence  is  found  in  Aulus  Gellius  II,  23  in  a 
passage  in  which  he  compares  a  passage  of  Caecilius  with  the  original 
of  Menander.  Menander's  lines  are  in  iambic  trimeter  and  Caecil- 
ius' passage  is  a  polymetric  monody.  The  scheme  consists,  according 
to  Lindsay,  of  anapaestic  tetrameters  1-3,  trochaic  tetrameters  4-8, 
bacchiacs  9-10,  cretics  11-13,  iambic  senarius  U  and  glyconics  15. 

It  is  difi&cult  to  draw  conclusions  from  this  scanty  evidence  but  it 
is  clear  that  the  Roman  poets  did  not  always  follow  the  original 
meters.  In  some  cases  they  substituted  tetrameters  for  trimeters, 
recitative  for  song,  and  in  one  case,  monody  for  monologue. 

The  plays  of  Plautus  and  Terence  differ  widely  in  the  use  of 
lyric  measures.  There  are  almost  no  lyric  passages  in  Terence;  he 
confines  himself  almost  entirely  to  senarii  and  recitative.  Plautus' 
Miles  Gloriosus  resembles  the  plays  of  Terence  in  its  metrical  struc- 
ture and  so  also,  to  a  slightly  less  degree,  does  the  Asinaria  with 
only  one  lyric  passage  (126-37).  The  other  plays  all  have  from  two  to 
five  song  passages,  varying  in  length  from  a  few  lines  to  more  than  a 
hundred,!^  as  Cas.  621-758;  Pers.  753-858;  Pseud.  133-264.  The  song 
passages  may  consist  of  an  elaborate  song  sequence  as  in  Bac.  612-70; 
solo  612-24,  duet  625-39,  solo  640-70  or  in  Pers.  753-858;  solo  753-62, 
trio  763-76;  solo  777-89,  quartette  790-858.  The  Casina  has  the  most 
extended  use  of  song. 

From  the  facts  known  about  Hellenistic  comedy  the  conclusion  has 
been  generally  reached  that  the  plays  of  Terence,  together  with  the 
Miles  Gloriosus  of  Plautus,  in  their  almost  total  omission  of  song 

>*  Capiivi  57. 

1^  The  Curculio  has  only  one  song  passage  but  it  is  a  rather  long  and  elaborate  one 

96-157. 


Studies  in  the  Songs  of  Plautine  Comedy  5 

represent,  in  the  negative  aspect,  the  metrical  conditions  of  their 
Greek  originals.  Leo  explains  the  origin  of  the  songs  m  Plautus 
by  saying  that  Plautus  found  the  subject  matter  in  brief  non-lyncal 
form  in  his  originals  or  occasionally  invented  it  himself  and  took  the 
musical  form  from  the  music  hall  songs  popular  in  southern  Italy  m 

l^isday.i« 

Leo's  theory  as  to  the  origin  of  the  cantica''  of  Plautus  has  been 
very  generally  accepted  but  he  has  himself  pointed  out  the  need  of 
further  study  of  songs.     His  Die  Plautinischen  Cantica  und  die  hellen- 
istische  Lyrik  is  devoted  almost  entirely  to    a  study  of  the  metrical 
structure  of  the  cantica  in  his  attempt  to  prove  the  connection  of 
Plautine  songs  with  Hellenistic  lyrics  and  the  songs  of  Euripides. 
After  a  brief    introduction    (pp.   3-5)   he    takes  up    the    different 
lyrical  meters    used  by  Plautus    (5-76).      Then    he    analyzes   the 
metrical  structure  of  the  individual  songs  in  all  the  plays  (76-111). 
The  last  three  pages  are  devoted  to  "Zusammenhang  der  Cantica 
mit  der  Composition  der  Komodien."     He  lists  the  plays  that  begin 
with  song,  those  that  end  with  song,  those  in  which  song  precedes 
the  beginning  of  the  action  and  those  in  which  it  begins  the  action  of 
the  play,  pointing  out  briefly  parallels  in  earlier  drama,  especially 
in  Euripides.     He  then  notes  the  resemblance  between  certam  songs 
of  Plautus  and  the  stasima  of  Euripides  and  the  relation  of  songs  to 
acts.  But  this  sketch  of  the  part  played  by  songs  in  the  structure  of 
the  Latin  plays  is,  necessarily,  of  the  briefest  sort.     He  comes  to  the 
conclusion  that  the  chorus  evidently  exerted  considerable  influence 
on  the  relation  of  the  cantica  to  the  general  composition  of  the  plays 
of  Plautus.     ''Hier  fehlen  die  Mittelglieder  aber  die  Analyse  der 
Stucke  kann  vielleicht  den  Weg  zu  ihrer  Erganzung  offnen     (114). 
Leo  himself  takes  up  the  analysis  of   the  plays  in  Der  Monolog  im 

-  Der  Monolog  im  Drama  (1910)  46;  Geschichie  der  '^'^^'f^'^^'lf^'  ^^^^^^   ^ 
125:  Die  Plautinischen  Cantica  und.  die  hellenistiscJie  Lyrik,  Berlin  (1897    85. 

1^  The  definition  of  the  word  canticum  varied  somewhat  in  ancient  times.     It  was 
used  in  contrast  with  diverbium  (deverbium)  to  distinguish  solo  P^^^s  from  scenes  m 
whfch  more  than  one  person  took  part  (Diomedes  K.  I  61)^    In  Livy  ^^^^^^ 
seems  to  include  only  monodies.     It  was  also  used  to  denote  monodies  and  duets 
^Lodis  in  contrast  with  diverMu.,  stichic  passages  of  either  -f  ^^^ J^^ 
Thi^  is  the  meaning  given  it  by  Donatus  (praef.  Hec.  Phorm.  Eun.),  who  defines  the 
l^'^TlLis  Jis  cantata  i^aefUXY.  ^  ;^^;^J^ 
canticum  is  found  in  the  Palatine  manuscripts  of  Plautus  m  ^^f^^^'^^^^^ 
both  strictly  lyrical  and  recitative  and  the  letters  DV  mark  only  senarii.     The  defim 
Hon  o    Donatus,  which  limits  cantica  to  strictly  lyrical  passages,  has  been  generaUy 
accepted  by  modern  scholars.      Pauly-Wissowa,  Real-E...  s.  '.  CanHcum,  Dn^erUum 
Dziatzko-Hauler,  Phormio,  4th  edition  (1913)  50  n.  1,  2. 


Studies  in  the  Songs  of  Plautine  Comedy 


Drama  but  he  analyzes  them  according  to  their  use  of  monologue 
rather  than  their  use  of  song.  He  includes  monodies  with  mono- 
logues and,  in  general,  makes  no  distinction  between  them.  He 
makes  a  special  stylistic  study  only  of  those  monodies  and  mono- 
logues which  begin  with  a  generalizing  statement  and  proceed  at  once 
to  a  particular  and  personal  application,  drawing  some  interesting 
conclusions  as  to  the  difference  between  the  monologue  and  monody. 
He  is  interested  in  monodies  as  monodies:  ''Die  plautinischen  Mono- 
dien  stellen  uns,  wie  oft  gesagt,  immer  wieder  vor  dem  Zweifel  ob  und 
wie  weit  sie  ihrem  attischen  Original  nachgebildet  sind"  (75)  but  the 
limitations  of  his  subject  do  not  allow  him  to  discuss  the  aspects  of 
song  to  which  my  study  is  devoted. 

Other  studies  of  the  cantica  of  Plautus  have  been  confined,  for  the 
most  part,  to  metrical  investigation.  An  attempt  was  made  by 
SpengeP^  to  show  that  the  regular  and  symmetrical  arrangement  of 
senarii,  recitative,  and  song  formed  the  basis  of  the  division  of  the 
plays  of  Plautus  into  five  acts,  but  he  did  not  succeed  in  making  his 
arguments  convincing.  Sudhaus^^  bases  his  analysis  of  the  metrical 
structure  of  Plautine  songs  on  the  Stollentheorie  of  Schroeder. 

My  own  purpose  is  to  study  the  cantica  of  Plautus  quite  apart 
from  their  metrical  form.  The  environment  of  song,  the  unity  or  lack 
of  unity,  the  content  of  song,  and  the  function  of  the  lyrical  parts  in 
the  general  composition  of  the  plays,  are  the  subjects  upon  which  I 
have  centered  my  attention.     The  background  in  Old  Comedy  and  in 
Euripides  cannot  be  ignored.     At  the  same  time  preconceptions  easily 
engendered  by  prevailing  views  of  Euripidean  influence  upon  many 
aspects  of  later  comedy  are  to  be  avoided.     An  unprejudiced  state- 
ment of  the  facts  discernible  from  the  text  of  Plautus  is  prerequisite 
to  a  larger  consideration  of  historical  development.     In  the  main, 
I  have  endeavored  to  interpret  the  structure  and  function  of  song  from 
the  text  and  context  of  the  Plautine  cantica.     By  bringing  together 
like  features  of  song,  by  constant  comparison  of  monody  with  mono- 
logue, duets  and  trios  with  dialogue,  we  may  be  able  to  discriminate 
facts  of  interest  and  value.     Such  facts  may  not  always  throw  light  on 
the  main  problem  whether  the  cantica  of  Plautus  are  original  with 
him,  at  least  in  respect  to  their  form.     But  it  may  be  serviceable  by  a 
study  of  the  function  and  content  of  song  to  throw  into  bold  relief 
outstanding  features  of  Plautine  cantica  as  preliminary  to  any  proper 
appreciation  of  Leo's  theory  and  of  the  poet's  art. 

1*  Die  Akteintheilung  der  Konwdien  des  Plautus  (1877). 
^»  Sudhaus  Der  Aufbau  der  Plautinischen  Cantica  (1909). 


II.      ENVIRONMENT  OF  SONG 

A  study  of  the  meters  environing  passages  of  song  in  the  plays  of 
Plautus  shows  that  certain  meters  were  preferred  to  others  both 
before  and  after  the  song.     Four  plays  of  Plautus  begin  with  song, 
Cistellaria,  Epidicus,  Persa,  and  Stichus.     One  song  is  preceded  by 
iambic  septenarii.  True.  209,  the  only  monody  of  Plautus  that  is  not 
an  entering  song.^     Of  the  remaining  sixty  song  passages,  seventeen 
are  preceded  by  trochaic  septenarii  and  forty-three  by  iambic  senarn. 
The  meters  that  ordinarily  follow  songs,  on  the  other  hand,  are 
quite  different.     Three  plays  end  with  song,  Persa,  Pseudolus  and 
Stichus  (two  of  which,  Persa  and  Stichus,  also  begin  with  song); 
nine  song  passages  are  followed  by  iambic  septenarii,  seven  by  iambic 
senarii,  the  rest— forty-six,  by  trochaic  septenarii.      The   contrast 
on  the  one  hand  between  the  preponderance  of  iambic  senarii  before 
the  song  and  its  slight  use  after  the  song,  and,  on  the  other  hand, 
between  the  relative  infrequency  of  the  trochaic  septenarii  before 
and  its  almost  universal  use  after  the  song,  is  striking.     The  poet 
evidently  greatly  preferred  the  more  gradual  change  from  song  to 
recitative  to  the  abrupt  change  from  song  to  senarii;  for  only  seven  of 
the  sixty-five  song  passages  are  followed  directly  by  iambic  senarn.^ 
At  the  beginning  of  the  song,  however,  the  change  from  senarh  to 
song  seems  to  be  preferred  to  that  from  septenarii  to  song.     This 
complete  and  sudden  change  in  the  manner  of  delivery  is  less  abrupt 
and  harsh  at  the  beginning  of  a  song  than  at  the  end;  for  songs  are 
regularly  sung  by  entering  characters  and  the  abrupt  change  of  meter 
is  quite  in  harmony  with  the  new  arrival  and,  frequently,  with  the 
consequent  introduction  of  a  new  chapter  of  the  action.     On  the 
other  hand,  a  break  in  the  action  after  a  song  is  quite  unusual. 

The  relative  infrequency  of  iambic  septenarii^  before  and  after 
song  is  commensurable  with  the  slight  use  of  this  meter  in  the  plays 
as  compared  with  trochaic  septenarii.  Though  a  common  meter 
in  Old  Comedy,  iambic  septenarii  are  not  found  in  Greek  tragedy, 

^Aul.m,  Cure.  147,  and  Epid.  81  are  also  link  monodies  but  do  not  begin  the  song 
passage  as  the  singer,  on  entrance,  has  already  taken  part  in  a  duet.  ,     ,.     ^, 

« In  addition,  three  Hnes  of  iambic  senarii  at  the  end  of  Mercury  s  monody  {Amph, 
984  ff.),  1006-8,  mark  a  change  from  a  monologue  to  a  direct  address  to  the  audience, 
changing  at  1009  to  recitative. 

»  Mohr,  P.  De  lambico  apud  Plautum  Septenario  (1873). 


8 


Studies  in  the  Songs  of  FlauUne  Comedy 


New  Comedy,  or  Roman  tragedy.  Two  of  the  plays  of  Plautus 
{Amph.  and  Bac.)  have  no  iambic  septenarii  while  six  have  only 
isolated  lines  forming  a  part  of  a  canticum.  There  are  only  twenty 
passages  of  stichic  iambic  septenarii  in  all  the  plays.  Certain  plays 
have  a  considerable  amount  of  it,  Asinaria,  more  than  300  lines,  a 
third  of  the  whole  play,  the  Miles  Gloriosus  and  Rudens,  about  200 
lines  each.  It  may  be  observed  that  two  {Asinaria,  Miles  Gloriosus) 
of  the  three  plays  with  the  greatest  amount  of  iambic  septenarii 
have  little  or  no  song  and  that  the  plays  richest  in  song  have  no  stichic 
iambic  septenarii  {Cas.,  Bac,  and  Pseud.).  On  the  other  hand,  the 
Rudens  is  well-supplied  with  both  songs  and  iambic  septenarii  while 
the  Mercator  is  defective  in  both  respects. 

The  seven  cases  of  change  from  song  to  iambic  senarii  require 
further  study.  In  the  Stichus  the  change  to  senarii  at  48  is  due  to  an 
error  in  the  transmission  of  the  text.  In  the  opening  song  (1-47)  the 
two  sisters  discuss  their  father's  desire  that  they  marry  again.  In  line 
47  Panegyris  says,  placet,  taceo  and  her  sister  answers  at  ynemineris  fa- 
cito.  This  ought,  it  seems,  to  close  the  discussion  but  a  long  speech  of 
Panegyris  follows  in  iambic  senarii  on  exactly  the  same  lines.  Conse- 
quently, Ritschl  reached  the  conclusion  that  the  iambic  lines  48-57 
and  the  lyric  passage  1-47  are  really  variant  versions  of  the  same 
opening  scene,  a  view  accepted  by  Lindsay  and  Leo  in  bracketing 
lines  48-57.  In  two  cases,  Bac.  997  and  Pers.  501,  the  change  to 
senarii  is  due  to  the  reading  aloud  of  a  letter,  which  seems  con- 
ventionally to  have  been  written  in  senarii.*  The  conversation, 
when  resumed  after  the  letter,  is  in  the  first  case  in  senarii  and  in 
the  second  in  septenarii,  rather  than  in  song.  At  Cas.  758  there 
is  a  vacant  stage  and  evidently  a  pause  in  the  action;  Olympio 
and  Lysidamus  leave  the  stage  at  758  and  Pardalisca  comes  out 
at  759  and  relates  what  they  have  been  doing  in  the  house.  Her 
speech  in  senarii,  as  it  is  an  unemotional  narrative  of  offstage 
action,  accords  with  Plautus'  normal  procedure.  The  short  pas- 
sage of  senarii  (eight  lines),  Cas.  847-54,  in  the  midst  of  a  long 
and  elaborate  song  passage  may  be  due  to  a  desire  to  heighten 
the  comic  effect.  The  slave  Chalinus,  dressed  as  the  maiden  Casina, 
has  been  led  out  to  Olympio  and  Lysidamus  and  a  scene  of  love- 
making  follows,  interrupted  by  the  senarii  at  847,  when  they  begin 
to  suspect  that  something  is  wrong.  The  fact  that  two  of  these 
seven  cases  of  a  change  from  song  to  senarii  occur  in  the  Casina,  the 

^  Compare  the  letter  in  Asinaria,  751;  Pseiid.  998. 


I 


Studies  in  the  Songs  of  Plautine  Comedy  9 

play  which  is  richest  in  song,  and  that  the  passages  of  senarii  are  both 
short,  is  not  without  significance.     The  dramatist  may  have  been 
governed  by  a  practical  desire  to  give  the  flute-player  a  chance  to 
rest  since,  except  for  these  brief  passages  of  senarii,  there  are  about 
four  hundred  lines  in  succession  of  song  and  recitative,  or  to  vary  the 
monotony  of  an  unusually  long  song  sequence  which  extends,  except 
for  these  brief  senarii  passages  and  a  brief  passage  of  trochaic  septen- 
arii (798-814),  from  621  to  963.     The  two  remaining  passages  {Most. 
746  and  True.  630)  afford  no  definite  explanation.^     In  the  Mostellaria 
after  an  entering  song  by  Simo,  a  duet  follows  between  Tranio  and 
Simo.     In  answer  to  Simo's  questions  Tranio  says  that  the  ship  has 
been  wrecked.     With  an  inquiry  for  further  details  the  meter  changes 
to  senarii  while  Tranio  is  explaining  the  actual  case  and  telling  his 
errand.     Although  there  is  no  break  in  the  situation  at  the  end  of 
the  song,  there  is  a  change  from  the  vague  and  figurative  to  the 
definite  and  explicit.     In  the  Truculentus,  after  a  heated  duet  m 
which  the  soldier  Stratophanes  threatens  Cyamus,  Cyamus  leaves  the 
stage.     At  his  departure  (630)  the  meter  changes  to  iambic  senaru, 
in  this  case  at  a  break  in  the  situation  and  a  consequent  change  m 

emotion.  . 

A  song  or  series  of  songs,  in  general,  begins  with  the  entrance  ot 
one  or  more  persons  on  the  stage  and  almost  never  does  a  person  or 
group  of  persons  already  on  the  stage  change  from  senarii  or  reci- 
tative to  song.     Only  four  exceptions  to  this  general  rule  are  found, 
one  monody  and  three  duets.     The  monody  True.  209  has  already 
been  mentioned  as  the  only  song  preceded  by  iambic  septenarii. 
After  a  dialogue  in  this  recitative  measure,  Diniarchus  leaves  the 
stage  and  Astaphium,  left  alone,  sings  a  link  monody  until  Truculen^ 
tus  enters.     This  monody,  like  the  entrance  monodies,  is  set  off 
sharply  from  the  preceding  verses;   the  departure  of  one  of   the 
speakers  makes  a  break  in  the  action  before  the  monody  begins.     The 
duets  are  Capi.  833-7,  Most.  783-803,  Stich.  769-75.      The  passage 
of  the  Captivi  is  very  short,  only  five  lines  preceded  and  followed 
by  trochaic  septenarii.     Ergasilus  enters  at  768  and  sings  a  monody, 
Hegio  enters  and  sings  a  monody  at  781.     Hegio  recognizes  Ergasilus 
(788)  but  is  not  recognized  by  him.     Ergasilus,  changing  to  recitative, 
as  a  servus  currens  soliloquizes  (790-832),  interrupted  by  the  aside 

^  The  change  in  these  cases  from  song  to  senarii  is  less  abrupt  as  the  songs  end 
with  5  lines  of  iamb.  oct.  and  one  line  of  iamb.  sept.  {Most.  741-6)  or  5  lines  of  trochaic 
sept,  and  oct.  {True.  626-30). 


10 


studies  in  the  Songs  of  Plautine  Comedy 


remarks  of  Hegio.     As  Hegio  addresses  Ergasilus,  the  meter  changes 
to  song  (833)  and  then  at  the  end  of  their  preliminary  remarks  and 
greetings  changes  back  to  recitative  (838).     The  general  character 
of  this  short  duet  resembles  closely  that  of  the  duets  which  frequently 
follow  the  entrance  solos  of  A  and  B,  changing  to  recitative  after  the 
conventional   salutations.     (Compare,   for   instance,   Persa   272-9). 
The  servus  currens  monologue,  then,  seems  to  be  merely  parentheti- 
cal, as    far    as    the    structure    of    the    passage    is    concerned.    The 
passage   of   the    Mostellaria    (783-803)    is    set    off    from    the    rest 
of  the  scene  and  is  preceded  by  what  is  practically,  if  not  actually,  an 
entrance.     Simo  enters  at  690  with  a  monody  which  is  followed  by 
his  duet  with  Tranio,  718,  changing  to  a  dialogue  in  senarii  at  747. 
This  dialogue  is  followed  by  Tranio's  link  monologue  775-82,  after 
which  he  addresses  Theopropides  and  a  duet  begins  which,  in  turn, 
changes  to  recitative  when  Simo  is  addressed.     Theopropides  has 
been  on  the  stage  all  this  time  but  has  had  no  part  in  the  action 
except  for  the  one  line  721.     The  stage  action  must  have  made  a 
distinct  break  before  783.     Theopropides,  if  he  remained  on  stage 
from  683-784,  was  half-asleep;  Tranio  delivered  his  monologue  (775ff.) 
and  addressed  Theopropides,  recalling  him  to  the  action.^    The 
banquet-scene   of   the   Stichus    (683-775)    is   largely   in   recitative 
but  after  a  short  passage  of  senarii  (762-8)  while  the  fluteplayer  is 
given  a  drink,  the  play  ends  with  a  short  lyric  scene,  accompanied  by 
the  dancing  of  Stichus  and  Sangarinus  (769-75). 

The  conclusion  of  a  song  is  brought  about  in  a  greater  variety 
of  ways.  Some  song  passages  are  units  in  themselves,  ended  by  a 
complete  break  in  situation  or  thought;  others  are  fused  with  passages 
of  recitative  or  speech  that  follow.  The  break  in  situation  is  of 
various  kinds.  The  conclusion  of  three  songs  coincides  with  the 
end  of  the  play,  in  the  Persa,  Pseudolus  and  Stichus-  and  a  fourth 
is  followed  only  by  the  concluding  speech  of  the  grex,  Bac.  1207. 
Three  songs  end  with  the  exit  of  the  singer  or  singers,  Cas.  621-758, 
Riid.  185-289,  True.  551-630  (exit  of  one  singer).  Two  of  these 
passages  are  followed  by  iambic  senarii  and  one  {Rud.)  by  iambic 
septenarii.  Seven  songs  end  at  the  entrance  of  another  person  or 
persons.  Cure.  96-157;  Most.  84-156;  313-47,  858-903;  Pers.  168-82; 
Trin.  820-42;  True.  209-255.  Sixteen  monodies  end  at  a  change  to 
lines  spoken  by  another  person  on  the  stage.'     Ordinarily  this  marks 

•  The  fact  that  senarii  directly  follow  the  first  song  is  in  itself  unusual. 
7  In  the  case  of  a  double  monody,  after  the  monody  of  B,  the  change  to  recitative 
may  come  with  the  speech  of  A. 


Studies  in  the  Songs  of  Plautine  Comedy 


11 


the  beginning  of  a  dialogue  between  the  singer  and  second  speaker 
but  occasionally  the  lines  are  not  addressed  directly  to  the  singer 
{Amph.  654;  Aul.  731;  Bac.  671;  Capt.  541,  790;  Cas.  963;  a*5/.704; 
Epid.  190,  547;  Men.  135,  369,  604,  775;  Merc.  364;  Most.  805;  Pseud. 
604).  In  these  thirty  cases,  nearly  half  the  songs,  there  seems  to  be 
a  definite  break  in  situation  at  the  change  from  song  to  recitative 

or  senarii. 

There  is  also  a  group  of  cantica  that  are  set  off  at  the  end  by  a 
change  not  in  situation  but  in  subject-matter  or  tone.     Often  in 
changing    from    introductory    remarks,    greetings,    etc.,    to    serious 
conversation  along  some  more  definite  line  there  is  a  corresponding 
change  in  meter.     For  instance,  when   Bromia  begins  her  actual 
account  of  what  has  happened,  the  song  changes  to  recitative  {Amph. 
1086).     Frequently  the  change  is  marked  by  an  abrupt  phrase  as  sed 
quid  ais?    Cas.  252   or  quid  factumst?  Rud.   962.     Other  cases  that 
show  this  tendency  to  avoid  the  carrying  on  of  serious  conversation 
in  song  form  are  Capt.  930;  Most.  747;  Pseud.  265,  951;  Rud.  682; 
Stich.  331 ;  True.  129.«     Occasionally  the  song  ends  at  a  change  from 
a  speech  addressed  to  a  particular  person  to  a  monologue  or  a  direct 
address  to  the  audience.     At  Epid.  341,  Epidicus  after  four  lines 
addressed  to  some  one  in  the  house,  begins  a  real  monologue  with  the 
words  pro  di  immortales  and  the  meter  changes  from  song  to  recita- 
tive.^    In  Amph.   1006,  the  change  from  a  monologue  to  a  direct 
address  to  the  audience  is  also  marked  by  a  change  in  meter.     The 
change  in  Trin.  1120  seems  to  mark  a  change  from  the  general  to  the 
particular  {modo  me).     In  two  cases  {Bac.  997;  Pers.  501)  the  break 
comes  with  the  reading  of  a  letter.     In  Cas.  847  the  change  of  meter 
may  be  for  comic  effect.     (See  p.  8.) 

A  group  of  eighteen  cantica,  or  about  a  quarter  of  the  whole 
number,  remain,  in  which  there  seems  to  be  no  break  either  in  situation 
or  subject-matter  but  which  are  completely  fused  with  the  following 
lines.  In  two  cases  the  song  ends  with  a  change  of  speaker  in  an 
aside  remark  but  this  is  not  the  first  interruption  by  the  speaker  and 


»  For  more  detailed  discussion  see  p.  44. 

»  The  duet  preceding  Epidicus'  entrance  ends  with  a  single  line  of  iamb.  sept.  336. 
Epidicus  enters  with  iambic  sept.  (337-38)  and  two  lines  of  uncertain  meter  339-40, 
which  are  followed  by  iamb.  sept.  If  339-40  are  emended  to  iamb.  sept,  there  is  a 
continuous  passage  of  recitative  from  336  on,  but  there  does  not  seem  to  be  sufficient 
reason  for  changing  the  manuscript  tradition.  See  Leo  PL  Cant.  52.  As  the  text  is 
defective  after  Cist.  203-29  this  song  may  not  be  used  for  this  purpose. 


12 


Studies  in  the  Songs  of  Plautine  Comedy 


the  monody  continues  as  monologue  (Amph.  263)  and  the  duet  as 
dialogue  (Poen.  1201)  without  any  change  except  the  change  in 
meter.  The  change  from  a  monody  to  a  monologue  without  a  break  of 
any  kind  {A sin.  138;  Aul.  447;  Epid.  99;  True.  465)  is  somewhat 
less  frequent  than  from  a  duet  or  trio  to  a  dialogue  (Aul.  161;  Capt. 
240;  Cist.  38;  Men.  1008;  Merc.  141;  Pers.  43;  280;  Poen.  261;  Pseud. 
1134;  5/iV/r.  48;  Triw.  301;  True.  730.) 

To  sum  up,  then,  of  the  sixty-five  song  passages,  in  the  case  of 
thirty  there  is,  at  the  end,  a  break  in  situation;  in  sixteen,  a  change  in 
subject-matter  or  tone;  in  eighteen,  no  perceptible  break  but  a  fusion 
with  the  lines  that  foUow.^^ 

"  In  this  discussion  of  the  unity  and  environment  of  song  passages,  the  definition  of 
various  song  passages  given  by  Leo  in  PL  Cant,  has  been  kept  for  the  most  part.     There 
is  occasionally,  however,  ground  for  difference  of  opinion  as  to  the  exact  point  at  which 
a  given  song  ends.    Sudhaus  {op.  cit.)  basing,  as  he  does,  his  metrical  analysis  of  the 
songs  on  the  symmetry  and  balance  of  the  thought  units,  sometimes  includes  in  the 
songs  lines  of  trochaic  septenarii,  iambic  septenarii,  and  in  one  case,  iambic  senarii, 
which  Leo  does  not  include  in  his  metrical  analysis  of  the  songs.     Sudhaus  does  not  dis- 
cuss all  the  cantica  but  in  the  following  cases  his  definition  of  the  song  differs  from 
that  of  Leo:  Asin.  127-50  (138-50  trochaic  septenarii)  and  Aul.  406-48  (447-8  troch. 
sept);  Epid.  166-95  (190-3  troch.  sept.);  Amph.  551-93  (586-93  troch.  sept);  Amph. 
1053-87  (1086-87  troch.  sept.);  Cos.  815-54  (847-54  iamb,  sen.);  Cist.  671-709  (704-9 
iamb,  sept.);  Pers.  1-52  (43-52  iamb,  sept.);  Trin.  1115-24  (1120-24  troch.  sept). 
From  the  standpoint  of  unity  his  definitions  of  certain  songs  are  easier  to  accept  than 
those  of  Leo,  that  is,  when  according  to  Leo's  definition  the  song  changes  to  recitative 
without  any  apparent  change  of  feeling  as  Pers.  M2;  Asin.  127-38;  Aul.  40646. 
However,  occasionaUy  Sudhaus'  inclusion  of  recitative  lines  in  the  song,  lessens  rather 
than  increases  the  unity  of  the  song.     For  instance,  in  the  song  Cist.  671,  the  break  at 
the  end  comes  more  logically  at  704  (the  beginning  of  the  iambic  septenarii)  when 
Phanostrata  addresses  Halisca  than  at  709,  in  the  middle  of  Halisca's  speech.     Conse- 
quently, because  of  the  danger  of  subjective  analysis,  it  seems  better  to  follow  Leo's 
example  and  to  consider  that  trochaic  and  iambic  septenarii  do  not  form  part  of  a  song 
unless  used  in  combination  with  octonarii  or  lyric  measures.     In  a  few  cases  my 
definition  of  individual  songs  differs  from  that  of  Leo,  when  it  is  necessary  to  decide 
whether  octonarii  or  octonarii  in  combination  with  septenarii  form  an  integral  part 
of  the  song  or  not.     Leo  himself  admits  the  difficulty  in  his  discussion  of  Capt.  240 
where  two  Imes  of  trochaic  octonarii  followed  by  septenarii  come  at  the  end  of  the 
song  "Es  lasst  sich  also  auch  hier  nicht  mit  Sicherheit  sagen  an  welcher  Stelle  der 
Gesang  im  Rede  ubergeht;  das  Ethos  ist  240  sq.  von  vorigen  nicht  verschieden  und  v. 
239  gibt  weder  metrisch  noch  im  Dialog  einen  Abschluss"    {PI.  Cant.  91).    In  such 
cases  I  have  included  the  doubtful  lines  in  the  song:  Capt.  516-40  (533-40  iamb,  oct., 
534-5  troch.  tetram.);  Capt.  922-29  (928-9  troch.  oct.),  M^n- 966-1007  (986-1007  iamb, 
oct.  and  troch.  sept.).    Slightly  different  is  Men.  571-603.     Leo  concludes  the  song  at 
601,  the  end  of  the  monody,  but  602-3,  anap.  tetram.  cat.  are  naturally  included  in  the 
song. 


III.     TECHNIQUE  OF  ENTRANCE 

The  most  striking  fact  about  Plautine  use  of  song  is  that  the  songs 
are,  almost  without  exception,  entrance  songs.     Yet  entering  charac- 
ters come  upon  the  stage  more  frequently  speaking  than  they  do  sing- 
ing (ratio  of  entrance  speech  to  song   is    229:81).     Solo  entrance 
parts,  whether  song  or  speech,  are  preferred  to  duo  entrance  parts 
(ratio  of  solo  parts  to  duo  entrance  parts  is  229:81;  the  fact  that  the 
figures  are  the  same  as  those  of  entrance  speech  and  song  is  merely 
a  coincidence).      A  character  who  appears  alone  comes  on  the  stage 
speaking  or  singing  rather  than  silent.     The  ordinary  procedure,  if 
A  and  B  are  ultimately  to  converse  on  the  stage  but  do  not  enter 
together  is  this:  A  enters  with  a  solo  speech  or  song,  B  enters  with  a 
solo  speech  or  song,  A  and  B  recognize  each  other  and  engage  in  con- 
versation.    Instead  of  a  monologue  proper  A  or  B  may  come  out 
speaking  to  someone  in  the  house,  B  may  address  a  silent  character 
entering  with  him,  or  A  may  call  to  B  who  is  still  in  the  house.     Of 
the  forty-seven  cases  of  double  initial  solo  parts,i  ten  are  m  song:  a) 
monody,  b)  monody,  c)  duet  or  dialogue;  eight  combine  song  and 
non-song:  a)  monody,  b)  monologue,  c)  dialogue-three ;2  a)  mono- 
logue, b)  monody,  c)  duet  or  dialogue,  five);^  twenty-nme  are  non- 
song:  a)    monologue,    b)    monologue,    c)    dialogue.     Ordmarily    a 
monologue  of  A  is  followed  by  a  monologue  of  B  and  a  monody  of  A 

by  a  monody  of  B. 

A  second  method  by  which  A  and  B  are  brought  on  the  stage 
together  for  an  ultimate  dialogue  is  this:  A  enters  with  a  monologue 
or  monody,  B  enters,  AB  begin  dialogue  or  duet  at  once.  This  is 
used  less  frequently  than  the  double  solo  part  (27  cases  as  against  47) 
and  only  under  limited  circumstances;  i.e.,  (1)  A  calls  B  out  of  the 
house,  B  enters  and  the  dialogue  begins  (7  cases)  ;^  (2)  A  enters 
with  a  monologue  at  the  end  of  which  he  speaks  of  the  delay  of  B 
who  has  been  with  him  or  who  is  impatiently  awaited  (8  cases)  ;^ 

1  See  tables  at  end  of  chapter  I,  A,  1;  II,  A,  1;  III,  A,  1, 3,  B,  1,2. 

» In  two  cases  the  monody  of  A  changes  to  monologue  before  its  close. 

3  All  except  True.  699  come  early  in  the  play;  three  are  prologue  speeches  or  play 
the  part  of  prologue  {Amph.  1,  Merc.  1,  True.  22);  Men.  77  is  a  professional  parasite  s 
speech,  conventionally  in  senarii. 

*  Aul.  40,  268;  Bac.  573;  Miles  596;  Most.  1;  Pseud.  1246  (m);  True.  645. 

'  Men.  882;  Mere.  588.  667;  Poen.  449,  504;  Pseud.  905  {m)',Rud.  485,  1191. 


14 


Studies  in  the  Songs  of  Plautine  Co^nedy 


(3)  B  comes  on  the  stage  looking  for  A  (4  cases) ;«  (4)  B  enters  with  A 
but  is  not  addressed  until  the  end  of  A's  monologue  or  monody 
(4  cases). ^  Ordinarily  then,  unless  his  entrance  has  been  directly 
prepared,  B  as  well  as  A  enters  with  a  monologue.^  When  A  enters 
with  solo,  B  enters  and  the  dialogue  begins  at  once;  A  sings  a  monody 
in  eleven  cases  and  delivers  a  monologue  in  sixteen. 

It  happens  more  frequently  that  B  is  already  on  the  stage  and  A 
enters  with  a  monologue  or  monody  which  is  followed  by  the  dialogue 
(duet)  of  A  and  B.  In  the  82  examples  of  this  kind  of  entrance 
technique  A  sings  a  monody  24  times  and  delivers  a  monologue  58 
times. «  In  only  30  cases  does  A  enter  and  begin  a  dialogue  or  duet 
(four  cases)  with  B,  who  is  already  on  the  stage,  without  this  prelim- 
inary solo  part.io  \vhen  this  occurs,  the  entrance  of  A  is  ordinarily 
directly  prepared  as  when,  after  the  entering  monologue  of  A,  B 
enters  without  monologue,  i.  e.,  (1)  A  appears  summoned  from  the 
house  by  B  (on  stage)  or  C  (of!  stage)."  (2)  A  appears  looking  for  B.^^ 

When  an  entrance  does  not  issue  in  a  dialogue  or  duet  between  A 
and  B,  A  may  come  on  the  stage,  deliver  a  solo  part  and  make  his 
exit  at  once  (15  cases). ^"^  This  solo  part  is  only  twice  in  song,  in  both 
cases  leading  up  to  a  dialogue;  for  A's  exit  after  his  monody  is  followed 
by  the  entrance  of  B  with  a  monologue  {Amph.  1009)  or  monody 
{Capt.  516)  at  the  end  of  which  A  returns  and  a  dialogue  between  A 
and  B  begins  (included  with  double  solo  entrances). 

The  obvious  alternative  to  solo  entrance  is  duo  entrance.  There 
are  81  cases  of  duo  entrance  as  compared  with  229  cases  of  solo 
entrance.  A  and  B  may  enter  together  on  an  unoccupied  stage 
either  talking  or  singing,  continuing  the  conversation  or  song  already 


^  Aul.  406(m);  Most.  858(m);  Rtid.  906(m);  Trin.  223(m). 

'  Capt.  922(m) ;  Most.  313(m) ;  Pers.  753(m) ;  Slich.  402. 

8  The  text  following  Cist.  203(m)  is  uncertain.  Asin.  127(m),  Cist.  653,  E^id. 
{^^1)  may  not  be  included  in  any  of  these  groups.  In  each  the  approach  of  B  is  men- 
tioned and  in  the  last  A  questions  B. 

»  See  I,  A  3;  B  I  b;  II,  A,  3;  III,  A,  5. 

10  See  11^  B^  3, 

"  Amph.9k\  Aid.  350;  Bac.  1120(song);  Capt.  978;  Cas.  279;  Cure.  158;  Epid.  475; 
570;  Men.  182,  219,  675;  A/i/.  818;  Pers.  ¥>l;Poen.  711,796,  1120; /?/«i.  259(song), 
414;  Slich.  325(song);  Trin.  1093;  Triu:.  256(m),  352. 

^^Ctirc.  251;  Men.  524;  xMerc.  474;  Mil.  1200;  Pers.  683;  Rud.  1227.  In  Most. 
998,  on  the  other  hand,  the  situation  is  different,  for  Simo's  entrance  is  not  motivated; 
he  merely  happens  to  come  home  from  the  forum  opportunely. 

"  See  II,  A,  4. 


Sludies  in  the  Songs  of  Plautine  Comedy 


15 


begun  (song,  nine  cases,i^  dialogue,  thirty-six  cases^^).   A  and  B  may 
enter  either  talking  or  singing  on  a  stage  occupied  by  C,  or  by  C  and 
D,  converse  or  sing  together  for  a  few  lines  and  then  join  wdth  C  m 
song  or  conversation,  just  as  A  in  solo  entrance,  entering  alone, 
delivers  a  monologue  before  seeing  B  and  conversing  with  him  (song  3,i« 
dialogue  ?^?>^'').     These  facts  in  regard  to  the  conventions  of  en- 
trance technique  are  important  in  a  study  of  song,  primarily,  because 
of  the  light  they  throw  upon  certain  unemotional  songs  and  emotional 
monologues.     The  general  observation  that  monodies  rather  than 
monologues  are  used  to  express  emotion  admits  of  several  undeniable 
exceptions,  some  of  which  can  be  explained  by  the  preference  for  a 
double  entrance  monody  or  a  double  entrance  monologue  rather  than 
a  combination  of  monody  and  monologue.     The  use  of  monody  rather 
than  monologue  by  A  may  ordinarily  be  explained  by  the  emotional 
character  of  the  song^«  but  the  monody  of  B,  which  is  usually  short, 
seems  to  owe  its  song  form  to  the  fact  that  it  follows  the  monody  of  A 
rather    than    to   the   presence   or   absence   of   emotion.     Cas.    165, 
Men.  990,  Pers.  7,  272,  Pseud.  594  are  in  no  sense  emotional. 

In  the  same  way,  a  monologue  of  B  expressing  emotion  frequently 

follows   an   unemotional  monologue  of  A  in  accordance  with  this 

common  form  of  entrance  technique,  the  double  entrance  monologue. 

The  unemotional  prologizing  monologue  of  Jupiter  {Amph.  861)  is 

followed  by  the  emotional  entrance  monologue  of  Alcumena  (882), 

both   senarii.     Daemones'   narrative   of   his   dream    {Rud.   593)   is 

followed  bv  Trachalio's  excited  appeal  for  help  (615).     In  this  case 

the  emotional  character  of  B's  monologue  is  marked  by  the  change 

from    the    senarii    of    A's    monologue    to    recitative.     Lysimachus' 

narrative  of  unessential  off  stage  action  {Merc.  692  senarii)  is  followed 

by  Dorippa's  entering  lament  in  the  same  meter  (700).     The  prayer 

of  the  returned  traveller,  conventionally  in  senarii,  given  by  Sangar- 

inus  {Stich.  649),  is  followed  by  the  joyful  monologue  of  Stichus  m 

the  same  meter  (655).     The  unemotional,  reflective  monologue  of 

Libanus  {Asin.  249)  is  followed  by  the  excited  and  joyful  servus 

^*Amph.  551;  Aid.  120;  Capt.  195;  Cas.  855;  Cist.  1;  Epid.  1,  166,  320;  Stich.  1. 

"Seell,  B.  1. 

^*Cas.  nO;Poen.  210,  1174. 

»7II,A,  5;B,  2;III,  A,4. 

tMW.  713,  Bac.  1076;  Capt.  498,  768;  Cas.  144;  Pers.  251;  Pseud.  574;  Rud.  185 
are  motivated  as  song  by  the  presence  of  emotion.  In  Pers.  1 ;  Men.  966  the  monody 
of  A  as  well  as  the  monody  of  B  is  unemotional. 


16 


Studies  in  the  Songs  of  Plautine  Comedy 


currens  monologue  of  Leonidas  (267),  both  in  recitative.  The  mono- 
logue rather  than  song  form  of  all  these  emotional  monologues,  then, 
is  determined  by  the  conventions  of  entrance  technique.  The 
monologue  of  A  is,  in  each  case,  in  senarii  or  recitative  in  accordance 
with  the  dramatist's  ordinary  usage  and  the  solo  part  of  B  is  also  in 
monologue  form  in  spite  of  its  emotion.  On  the  other  hand.  True. 
699  is  a  unique  example  of  an  emotional  monologue  of  A  (recitative 
after  senarii)  followed  by  a  non-emotional  monody  of  B  and  Merc. 
830  of  an  emotional  monologue  of  A  followed  by  emotional  monologue 
of  B  (both  recitative  after  senarii).  But  it  must  be  remembered  that 
the  Truculentus  is  unique  and  isolated  in  its  use  of  song^^  and  that 
the  Mercator  has  very  little  song.  The  few  other  emotional  mono- 
logues are  not  affected  by  this  question  of  entrance  technique  and 
will  be  discussed  later.^^ 

In  comparing  the  entrance  technique  of  Terence  with  that  of 
Plautus  the  only  possible  basis  of  comparison  is  of  the  relative  fre- 
quency of  monologue  and  dialogue  by  entering  characters;  Terence 
uses  entrance  song  only  three  times  {And.  481,  625;  Ad.  610).  Using 
the  term  monologue  to  include  monody,  and  dialogue  to  include  duet, 
a  comparison  of  the  twenty  plays  of  Plautus  and  the  six  plays  of 
Terence  show  the  following  results.  Though  the  plays  of  the  two 
dramatists  have  approximately  the  same  average  number  of  lines, 
they  differ  in  the  number  of  entrances,  which  average  fourteen  in 
the  plays  of  Plautus  and  twenty-one  in  those  of  Terence.  For  that 
reason,  any  calculation  of  the  relative  frequency  of  entering  mono- 
logue and  dialogue  in  Terence  and  Plautus  must  be  based  on  the  pro- 
portion of  l:2i  rather  than  of  l:3i.  In  the  plays  of  Terence  the 
four  Menandrian  plays  may  be  compared  with  the  two  non-Men- 
andrian  plays,  Phormio  and  Hecyra. 

1'  It  contains  the  only  non-entering  monody  and  only  one  of  its  five  songs  is  in 
any  way  emotional  (448). 

=0  Aid.  808;  Bac.  842;  Merc.  588;  Afosl.  348;  Riid.  1191;  1281. 


Studies  in  the  Songs  of  Plautine  Comedy 


17 


Plautus 

Terence 

Ter.  on 

Men. 

Non-Men. 

Basis  of    . 

279  ent. 

125  ent. 

91 

34 

275 

A  mon.  B  mon.  AB  dial. 

47 

15 

10 

5(10) 

33 

A  mon.  B  enters  AB  dial. 

27 

2 

1 

1(2) 

4 

B  on  stage,  A  mon.  AB  dial 

79 

52 

42 

10  (20) 

114 
4 

A  mon.  exit 

15 

2 

2 

B  on  stage  A  enters 

30 

14 

11 

3(6) 

31 

AB  dial. 

45 

22 

13 

9(18) 

48 

C  on  stage  AB  dial. 

27 

18 

12 

6(12) 

39 

A  ent.  mon.  BC  ent.  dial. 

9 

- — 

Plautus  uses  the  double  monologue  for  entrance  more  often  than 
Terence.     The  entrance  of  B  without  a  monologue  after  A's  mono- 
logue is  rare  in  Terence.     The  situation  in  which  B  is  on  the  stage  and 
A  enters  with  a  monologue  occurs  more  frequently  in  Terence  than  in 
Plautus  but  the  number  of  times  that  A  enters  without  a  monologue 
while  B  is  on  the  stage  is  about  the  same  in  the  two  dramatists.     A 
more  striking  difference  is  seen  in  the  use  of  an  entrance  monologue 
immediately  followed  by  the  exit  of  the  speaker.     There  are  only 
two  cases  in  Terence,  both  not  monologues  proper  but  speeches 
addressed  to  someone  in  the  house;  at  Ad.  511,^1  A  enters  on  empty 
stage;  at  And.  481,  A  enters  on  a  stage  already  occupied  by  B,  smgs  a 
monody  and  leaves  the  stage  without  addressing  B.     Terence  uses 
entrance  dialogue  somewhat  more  frequently  than  Plautus.     There 
is  very  little  difference  between  the  Menandrian  plays  and  the  non- 
Menandrian  plays  of  Terence.     A  enters  with  a  monologue  while  B  is 
on  the  stage  about  twice  as  often  in  the  Menandrian  plays. 


45 
29 


Entrance  Technique 

I.      SONG 

A.     Initial  Monody 

1.    A  entrance  monody  B  entrance  monody  AB  duet  6 

Bac.  1076  ^^^'  ^ 

Cos.  144 
Men.  966 


251 
Rud.  185 


21  Conrad  {Calif.  Stud.  Cla^s.  PhU.  II  291  fif.)  proves  the  authenticity  of  these 
lines,  which  has  been  doubted  because  of  Donatus'  statement  that  they  are  lackmg 
in  some  manuscripts. 


18 


Studies  in  the  Songs  of  Plautine  Comedy 


2.    A  entrance  monody  B  enters 

Aul.  406 
Most.  313« 

858 
Pers.  753" 


AB  duet  8 

Pseud.  905 

1246 
Rud.  906 
Trin.  223 


3.     (B  on  stage)  A  entrance  monody    AB  duet  15 
\jm/>A.  1053  Most.  690 

^ac.  612" 

925 
Cas.  217 

621 

815" 
Cure.  96  ^ 

Epid.  526 


Pers.  470 
Pseud.  133 
1103» 

/?«</.  664 
5/icA.  274 
True.  551 


B.     Initial  duet 

1.     AB  entrance  duet 

9 

a  AB  entrance  duet 

AB  dialogue  5 

Amph.  551 

Cist.  1 

Aul.  120 

Stick. 

Capt.  \9S^ 

b  AB  entrance  duet 

C  entrance  monody  3 

Cas.  855 

Epid.  166 

320 

c  AB  entrance  duet 

A  exit  monody  1 

Epid.  1 

16 


2.  CD  on  stage  AB  ent.  duet  ABCD  dial.  3 

a  CD  on  stage  (dial.)  AB  duet  ABCD  dial.  2 
Poen.llQ  1174 

b  CD  on  stage  (song)  AB  duet  ABC  trio  1 
Cas.  720 

3.  CD  on  stage  (song)  A  or  AB  entrance  ABCD  song  4 

Bac.  1120  Stick.  325 

Rud.  259  True.  256 


"  CD  on  stage  A  monody  (B  enters  with  A  but  is  not  addressed  in  A's  opening 
monody)  AB  duet,  ABC  trio,  ABCD  quartette. 

"  Duet  of  AB  followed  by  entrance  monody  of  C.  In  Pers.  753  B  enters  with  A 
but  is  not  addressed  in  A's  opening  monody. 

'*  Wedding  song  sung  to  bride  who  is  a  silent  character  in  the  scene. 

»*  BC  on  stage,  A  entrance  monody,  BC  duet,  ABC  dialogue. 

"  Assuming  that  the  captives  have  not  been  on  the  stage  during  the  preceding 
scene. 


/ 


Studies  in  the  Songs  of  Plautine  Comedy 


19 


n.      SPEECH    AND 

RECITATIVE 

209 

A.     Initial  Monologue" 

123 

1.     A  ent 

.  monol. 

B.  ent.  monol. 

AB  dial.  29 

Ampk.  861 
Asin.  249 

Aul.  587'' 

a 

b^ 
b» 

a 

'b» 
b' 

a 

r  '^ 
b^ 

Bac.  170 

526 

Cas.  531 

a 

b» 

b^ 

a 

b» 
bi 

a 
b> 

759 

a 

a 

a 

Cist.  536 

a 

a 

a 

Cure.  216 

a 

a 

a 

371 
Epid.  607 
Men.  4^6 

a 

b» 
b' 

a 

b^ 

a 

a 
b> 

a 

701 

a 

a 

a 

Mere.  544 

a 

a 

a 

692 

a 

a 

a 

803 
830 
Miles  79 
Most.  1041 

a 
b' 
a 
b» 

a 

b^ 
b» 
b« 

a 

Pers.  53 

a 

a 

a 

400 

Poen.  817 

a 

aM-a» 

a 
b» 

a 

Pseud.  1052 

a 

a 

a 

Rud.%i 

a 

a 

a 

290 
593 

a» 
a 

a» 
b» 

a* 

b^ 

1281 

a» 

a^ 

a* 

Stick.  649 

a 

a 

a 

Trin.  23 

a 

a 

a 

2.     A  ent.  monol. 

B  enters 

AB  dial.  1 

Aul.  40 
268 

a 

a 

b* 

Bac.  573 
Cist.  653 

a 

a 
b^ 

EpU.  382 

a 

a 

€1 

Men.  882 

a 

cl 

b» 

Merc.  588 

b* 

667 

a 

a 

"  a  iambic  senarii,  a»  iambic  septenarii  a«  iambic  octonarii,  b^  trochaic  sep- 
tenarii  b>  trochaic  octonarii.  Instead  of  a  strict  monologue  A  or  B  may  address 
some  one  in  the  house,  B  address  silent  character  on  stage,  A  address  B  in  the  house. 

"  A  ent.  monol.  B  ent.  monol.  (exit)  A  exit  monol. 


20 


Studies  in  the  Songs  of  Plautine  Comedy 


2.    A  cnt.  monol. 

B.  enters 

AB  dial, 

MUes  596 

b^ 

\^ 

Most.  1 

a 

a 

Poen.  449 

a 

a 

504 

b» 

• 

b» 

Rud.  485 

a 

a 

1191 

a 

b» 

Stick.  402" 

a 

a 

True.  645 

a 

a 

3.     (B  on  stage) 

A  ent.  monol. 

AB  dial.  58 

Asin.  381 

a» 

a» 

407 

ai 

a» 

Aul.  79    • 

a 

a 

178 

b» 

b» 

449 

b» 

b* 

475 

a 

a 

808 

b» 

b> 

Bac.  235 

a 

a 

770 

a 

a 

799 

a 

a 

842 

a 

a 

Capt.  251 

b» 

b> 

998 

b» 

b* 

Ca5.  309 

a 

a 

563 

a 

a 

591 

a 

a 

798 

b^ 

b» 

Cist.  639 

b^ 

b» 

Cure.  280 

b» 

b^ 

557 

b^ 

b» 

679 

b» 

b» 

Epid.  437 

a 

a 

675 

bi 

b» 

3/en.  273 

a 

a 

899 

W 

V 

1060 

a« 

b^ 

Merc.  741 

a 

a 

962 

b^ 

b» 

MUes  in 

bi 

b» 

411 

a» 

a' 

486 

a 

a 

991 

b» 

b> 

1284 

a 

a 

1378 

a 

a 

Most.  348 

b» 

b» 

431 
532 
1122 
Pers.  731 
738 
Poen.  615 
746 
1280 
1338 
Pseud.  956 
>'4       1038 
/?«</.  331 
559 
Stick.  58 
155'» 
454 
523 
579 
Triri.  1008 
rfM<;.322 
669 
854 
893 

Aul.  371 

398 

624 

667 

701 

5(m:.  368 

Capt.  461 

909 


Boc.  385 
Capt.  69 
C«rc.  591 
Jf cfc.  225 
Poen.  930 


Studies  in  the  Songs  of  Plautine  Comedy 


3.  (B  on  stage) 


A  ent.  monol. 
a 

a 

b» 

a 

a 

a 

a 

b» 

a 

b» 

a 

a* 

b* 

b* 

a 

a 

bi 

b* 

bi 

a 

a 

b» 

b» 

4.    A  entrance  and  exit  monologue^^ 

a  Cw/.  149»« 

a  Cure.  462^' 

bi  PjeM^.  767'* 

a  i^w<i.  458 
a*  892 

bi  5/w:/f.  641 
bi  673 

a« 

5.     A  entrance  monol.      BC  ent.  dialogue 
bi  b» 


a 
a 


b» 

a 


21 

AB  dial 
a 
a 
b» 
a 
a 
a 
a 
bi 
a 

a 
a^ 

b» 

a 
a 

b» 

b» 

a 
a 

b* 


15 


a 
b» 

a 
a 
a 
a 


*•  B  enters  with  A  but  A's  speech  is  not  addressed  to  him. 


a*  Whether  Crocotium  left  the  stage  at  154  and  returned  at  195  or 
stage  during  Gelasimus'  speech  is  not  clear. 

»  Aul.  608,  also  an  entrance  exit  monologue,  is  listed  with  the 

monologue. 

»» Intercalated  prologue. 

»  Not  entrance  but  first  speech  of  choragus.    See  p.  65. 

'**  Assuming  that  the  puer  of  891  is  not  the  same. 


ABC  dial.  5 

b» 

a 

b» 

a 
a 

remained  on  the 
double  entrance 


22 


Studies  in  the  Songs  of  Plautine  Comedy 


B. 


Initial  dialogue 

1.    AB  entrance  dialogue 

a 

Epid.  666 

b» 

3/ en.  226 

a» 

559 

a 

1050 

a 

Merc.  499 

a  (2  lls)4-a« 

957 

a 

MUesl 

bi 

947 

a 

1394 

b» 

Pef5.  329 

a 

Pofn.  129 

a 

Pseiui.  3 

bi 

79( 

b* 

/?;i<f.  1265 

b» 

^iich.  505 

a 

683 

a» 

Tr/fi.  602 

b* 

729 

A  sin.  16 
504 
545 
746 
810 
828 
Aul.  280 
628 
682 
Bac.  35 

109 
Coj.  89 

515 
CisL  631 
774 
Cure.  1 
487 
533 


2.     (C  or  CD  on  stage)  AB  ent.  dial.  ABCD  dial. 


Amph.  499 
Asin.  591 
851 
Cos.  353 
437 
A>m/.  104 
Miles  354 
874 
1137 
1216 
1311 
Most.  904 
Pm.  302 
549 
Poen.  578 
PjeM<i.  415 
694 
Rud.  706 
839 
1045 
1357 
Trin.  402 
627 
True.  775 


b» 
a« 

b» 


a^ 

a> 

b> 

a> 

b» 

b» 

a^ 

b» 

b» 

a 

b> 

b> 

a 

b» 

a 

b» 

b^ 


b> 

a» 

b' 

b» 

a 

b» 


b» 

a» 

b» 

b» 

a» 

b' 

b» 

a 

b' 

b> 

a 

b^ 

b> 

a 

b» 

b» 


86 

36 


a 
a 

b* 

a> 

b» 

a 
b> 

b> 

a 
a 
a- 
a 

b» 
b" 
i>> 

a 


24 


Studies  in  the  Songs  of  Plautine  Comedy 


3.     (B  on  stage)  A  enters     AB  dial. 

Amph.  956 
Aul.  350 
Ca/»/.  978 
Coj.  279 
Cure.  158 
251 
£/^.  475^ 

570 
Men.  182 

219 

524 

675 
Merc.  474 


Mi/ej  818 

1200 
Most.  998 
P<T5.  462 
683 
Poen.  711 
Pt^en.  796 

1120 
Rttd.  414 

1227 
Trin.  1093 
rn«:.  256 

352 


III      SONG  COMBINED  WITH  SPEECH  OR  RECITATIVE 

A.     Initial  Monody 


1.  A  ent.  monody 

Aul.  713 
Capt.  498=* 
768" 
Pseud.  574 

2.  A  ent.  monody 

Asin.  127»« 
Ca/»/.  922« 
Ci5/.  203*0 

3.  A  ent.  monody 

Amph.  984=« 
Trin.  820 
TrMC.  44838 

4.  A  ent.  monody 

Amph.  633« 
Most.  84 
Pffja  168 
Trin.  1115" 


B  ent.  monody 


B  enters 


B  ent.  monol. 

b^ 
b» 
b» 

BC  ent.  dial. 

b^ 
a» 
b' 
bi 


23 
26 


AB  dialogue 

b" 
b" 
b» 

b^ 

AB  dialogue 

bi 

b^-l-b^ 

b' 

AB  dialogue 

b» 
b» 
b» 

ABC  dialogue 

b» 

a»4-b» 

b» 

b» 


20 

4 


«  AB  on  stage,  C  enters  475  AB  dialogue,  B  exit  492  AC  dial. 

>•  A  exit  after  monody,  returns  at  end  of  B's  monody  (monologue). 

•^^  A  ent.  monody.  B  ent.  monody,  A  monologue  with  aside  remarks  by  B.  AB  duet, 

dial. 

^  Changes  from  song  to  recitative  or  senarn  before  end. 

'^  B  enters  with  A. 

*»  Text  at  end  of  song  defective,  apparently  as  stated.  .     .  . , 

"  A  before  house,  BC  on  stage  coming  from  harbor,  reach  house  at  end  of  A  s 

raonodv. 


24 


Studies  in  the  Songs  of  Plautine  Comedy 


5.     (B  on  stage) 

Cos.  937 
Cist.  671 
Men.  351 

571 

753 
Merc.  335 
B.    Initial  monologue 

1.  A  ent.  monol. 
Merc.  l*»a 
True.  22  a 

699  b» 

2.  A  ent.  monol. 
Amph.  1"  a 
Men.  77  a 

I      SONG 

A  Initial  monody 

1  A  ent.  monody 

2  A  ent.  monody 

3  (B  on  stage) 

B  Initial  duet 

1  AB  ent.  duet 

2  (CD  on  stage) 

3  (CD  on  stage) 


A  ent.  monody 


B  ent.  monody 


B  ent.  monody 


AB  dialogue 
a> 

b» 

AB  duet 
song  to  149 +b* 
song  to  130+ a* 
song  to  790 -}-b* 
AB  dialogue 


Summary  of  Entrance  Technique 


B  ent.  monody 

B  enters 

AB  ent.  monody 


AB  duet 
AB  duet 
AB  duet 


AB  ent.  duet 

A  or  AB  entrance  ABC  song 


B  ent.  monol. 

B  enters 

A  ent.  monol. 


II  SPEECH  AND  RECITATIVE 

A  Initial  monologue 

1  A  ent.  monologue 

2  A  ent.  monologue 

3  (B  on  stage) 

4  A  entrance  and  exit  monologue 

5  A  ent.  monol.  BC  ent.  dial. 
B  Initial  dialogue 

1  AB  dialogue 

2  (C  or  CD  on  stage)  AB  ent.  dial. 

3  (B  on  stage)  A  enters 

III  SONG  COMBINED  WtTH  SPEECH  OR  RECITATIVE 


1  A  ent.  monody 

2  A  ent.  monody 

3  A  ent.  monody 

4  A  ent.  monody 

5  (B  on  stage) 

B  Initial  monologue 

1  A  ent.  monol. 

2  A  ent.  monol. 


B  ent.  monody 
B  enters 
B  ent.  monol. 
BC  ent.  monol. 
A  ent.  monody 

B  ent  monody 
B  ent.  monody 


AB  dialogue 
AB  dialogue 
AB  dialogue 

ABC  dialogue 


ABC  dialogue 
AB  dialogue 


AB  dialogue 
AB  dialogue 
AB  dialogue 
ABC  dialogue 
AB  dialogue 

AB  dialogue 
AB  dialogue 


45 

29 
6 
8 
15 
16 
9 
3 
4 

209 

123 
29 

16 

58 

15 

5 

86 
36 
24 
26 

25 

4 
3 
3 
4 
6 
5 
3 
2 


Amph. 

Asin. 

Aul. 

Bac. 

Capi. 

Cos, 

Cist. 

Cure. 

Epid. 

Men. 

Merc. 

Mil. 

Most. 

Pers. 

Poen. 

Pseud. 

Rud. 

Stick. 

Trin. 

True. 


Studies  in  the  Songs  of  Plautine  Comedy 


Scheme  of  Entrances  by  Plays 


Song 
2 
0 
2 
4 
1 
6 
1 
1 
4 
1 
0 
0 
3 
4 
2 
4 
4 
3 
1 
2 


45  209  25 

Types  of  Entrance  with  Speech  or  Recitative** 


25 


Speech 

Combination  of 

or 

Song 

with  Speech 

Recitative 

or 

Recitative 

3 

3 

8 

11 

1 

12 

17 

1 

20 

11 

0 

15 

6 

3 

10 

11 

1 

18 

6 

2 

9 

12 

0 

U 

8 

0 

12 

13 

4 

18 

12 

2 

14 

18 

0 

IS 

8 

1 

12 

9 

1 

14 

13 

0 

15 

8 

1 

U 

17 

0 

21 

11 

0 

14 

7 

2 

10 

8 

3 

13 

279 


**  A's  entrance  monologue,  prologue  speech. 


Afni>h 

Al 
1 
1 
1 

2 

2 

1 

2 

1 

2 

4 

1 

1 

2 

1 

1 

4 

1 

1 

29 

A2 

2 

1 

1 

1 
1 

2 
1 

1 

2 

2 
1 

1 

16 

A3 

2 

5 

4 

2 

4 

1 

3 

2 

3 

2 

6 

4 

2 

4 

2 

2 

5 

1 

4 

58 

A4 

5 
1 
2 

1 
1 

1 
2 
2 

15 

A5 

1 
1 

1 

1 

1 
5 

Bl 

6 
3 
2 

2 
2 
3 
1 

3 
2 
3 

1 
1 
2 
1 
2 
2 

36 

B2 

1 

2 

2 

1 

5 
1 
2 

1 
2 
4 

2 
1 

24 

1              ^  j% 

B3 

1 

1 

1 
1 

2 
2 
4 
1 
2 
1 
2 
3 

2 

1 

2 

26 

3 

Asin 

11 

Aid 

17 

Bac 

11 

CaM 

6 

Cos 

11 

Cist 

6 

Cure 

12 

Rind    

8 

Men 

13 

Merc 

12 

Mil 

18 

Most 

8 

Pers 

9 

Poen 

13 

Pseud 

8 

Rud 

17 

Stick 

11 

Trin 

7 

True 

8 

206 

«  For  the  significance  of  the  symbols  A^  A«,  etc.  cf.  note  27,  p.  19. 


'■^'"?^^'5?'*??.'^*g^#*^ 


26 


Studies  in  the  Songs  of  Plautine  Comedy 


Types  of  Song  Entrance 


Amph 
A  sin. . 
Aid... 
Bac... 
Capt. . 
Cos..  . 
Cist. . 
Cure. . 
Epid.. 
Men.. 
Merc. 
MU.., 
Most. . 
Pers.. 
Poen.. 
Pseud. 
Rud.. 
Stick. . 
Trin. . 
True. . 


Al 


A2 


2 
1 

2 

1 


8 


A3 
1 


2 
3 


15 


Bl 
1 


1 
1 
1 


B2 


B3 


1 
1 


Types  of  Entrance  Combining  Song  with  Speech  or  Recitative 


Amph 

A  sin. . 

Aul.. 

Bac.. 

Capt... 

Cos.. . 

Cist.. 

Cure. . 

Epid.. 

Men. . 

Merc. 

MU.. 

Most. . 

Pers.. 

Poen. 

Pseud 

Rud.. 

Stick. 

Trin. . 

True.. 


Al 


A2 


1 
1 


A3 
1 


1 
1 


A4 
1 


A5 


1 
1 


3 
1 


Bl 


B2 
1 


2 
0 
2 

4 
1 
6 
1 
1 
4 
1 
0 
0 
3 
4 
2 
4 
4 
3 
1 
2 

45 


3 
1 
1 
0 
3 
1 
2 
0 
0 
4 
2 
0 
1 
1 
0 
1 
0 
0 
2 
3 


IV.     CONTENT  OF  SONG 

The  most  obvious  fact  about  the  songs  of  Plautus  is  that  they  are, 
in  the  main,  emotional  in  content,  and  that  any  narrative  element 
refers  to  facts  already  known  to  the  audience  or  of  little  importance. 
I  shall  consider  first,  the  songs  that  are  primarily  emotional  or 
narrative  with  emotional  coloring,  secondly,  the  reflective  songs. 
Throughout  this  discussion  I  shall  compare  with  the  songs  the 
content  of  passages  in  speech  and  recitative  with  a  view  to  determin- 
ing whether  song  is  associated  with  any  special  kinds  of  content  and 

definite  themes. 

In  many  cases  the  song  seems  to  be  the  natural  outpouring  of  an 
overpowering  emotion  and  the  brief  narrative  element,  although 
usually  present,  is  hardly  more  than  enough  to  motivate  the  expres- 
sion of  emotion.     In  Rud.  185  the  shipwrecked  Palaestra  declares 
that  the  fortunes  of  men  are  said  to  be  less  wretched  than  they 
really  are,  as  she  has  found  out  by  bitter  experience.     She  bemoans 
the  injustice  of  her  fate;  she  is  suffering,  not  through  her  own  fault 
or  through  that  of  her  parents,  but  through  the  wickedness  of  her 
master,  and  she  laments  her  utter  loneliness  and  helplessness.     The 
brief  narrative  of  198-201,  which  explains  the  reason  for  the  grief, 
gives  only  facts  already  known  to  the  audience.     The  same  note 
is  carried  out  in  the  following  monody  of  her  shipwrecked  comrade, 
Ampelisca,  (220)  who  declares  that  since  all  hope  is  gone  there  is  no 
reason  why  she  should  desire  to  live  longer.     Alcumena's  monody 
in  Amph.  633  also  expresses  grief;  she  has  just  discovered  that  her 
supposed  husband  must  leave  her  after  only  one  night.     Her  com- 
plaint is  Ita  dis  est  placitum  voluptatem  ut  maeror  comes  consequatur, 
(635) ;  applying  it  to  her  own  case,  she  feels  more  grief  at  her  hus- 
band's departure  than  pleasure  at  his  coming.     She  consoles  herself 
in  her  unhappiness  with  the  thought  that  he  will  return  after  he  has 
won  glory  for  himself,  and  she  ends  with  the  moralizing  reflection. 
Virtus  praemium  est  optumum  (648).     The  narrative  of  639  also  gives 
merely  facts  already  known  to  the  audience.     In  Epid.  526  Philippa 
comes  on  the  stage  with  the  lament  Si  quid  est  homini  miseriarum 
quod  miserescat,  miser  ex  animost.     Id  ego  experior—.     She  tells  of  her 
fear  and  despair  and  her  brief  reference  to  facts  already  known, 
Ita  gnata  mea  hostiumst  potita  neque  ea  nunc  ubi  sit  scio  (532),  merely 
explains  her  emotion.     In  Cist.  671  the  ancilla,  Halisca,  coming  back 


25 


■^■-^  ■--•**''««i%'^?^'N^B«*^S«( 


28 


Studies  in  the  Songs  of  PlaiUine  Comedy 


to  look  for  the  box  she  has  lost  cries  out  in  deep  distress  Nisi  quid  mi 
opV  di  dant  disperii  neque  unde  auxilium  expetam  habeo.  She  tells 
of  the  punishment  that  she  expects  and  appeals  to  the  spectators  for 
help.  When  she  does  not  find  the  box,  her  fear  increases  Nulla  est, 
neque  ego  sum  usquam.  perdita  perdidit  me  (686).  She  ends  her  vain 
search  with  the  words  quod  periit,  periit,  meum  corium  cum  cistella 
(703).  In  still  greater  excitement  and  grief  the  miser  Euclio,  rushing 
on  the  stage  when  he  discovers  the  loss  of  his  money,  cries  {Aul.  713) 
Ferii,  interii,  occidi.  quo  curram?  quo  nan  curram?  tene,  tene.  quern?, 
quis?  He  too  entreats  the  aid  of  the  spectators  and  laments  his  mis- 
fortune with  the  same  repetition  of  miserum  and  perii,  perdidi} 
So  Tyndarus  iCapt.  516)  rushes  out  of  the  house  when  he  unexpect- 
edly sees  Aristophontes  and  realizes  that  his  identity  will  be  known 
and  the  trick  disclosed.  He  expresses  his  complete  despair  Nunc  spes 
opes  auxiliaque  a  me  segregant  spernuntque  se  (517),  an  idea  which  he 
repeats  and  amplifies  at  some  length.  Near  the  end  of  the  song 
he  tells  the  reason  for  his  distress  by  a  narrative  of  facts  already 
known  to  the  audience  (527-8)  and  declares  again  that  there  is  no 
way  of  escape.  In  great  terror  Palaestra  rushes  forth  from  the 
temple  to  escape  the  violence  of  the  leno  {Rud.  664).  Her  sense  of 
helplessness  and  fear  is  expressed  in  language  much  like  that  of 
Tyndarus:  Nunc  id  est  quom  omnium  copiarum  atque  opum,  auxili, 
praesidi  viduitas  nos  tenet.  So  great  is  her  despair  that  she  sees 
escape  from  her  ill-fortune  only  in  death.  The  monody  of  Pardalisca 
(Cas.  621)  expresses  terror  in  an  even  more  exaggerated  form.  NuUa 
sum,  nulla  sum,  tota,  tota  occidi.  As  one  of  the  tricks  tried  on  Lysi- 
damus,  she  is  trying  to  make  him  believe  that  Casina  is  mad  and 
ready  to  kill  him.  For  that  reason,  her  monody,  as  she  rushes  wildly 
from  the  house,  expresses  the  most  violent  emotion.  The  brief 
narrative  (670-71)  is  of  facts  not  known  to  the  audience,  but  easily 
imagined  and  unimportant.  In  Aul.  406  the  cook  rushes  out  of  the 
kitchen  to  escape  the  blows  of  Euclio,  and  calls  for  help.  Attatae! 
cives,  populates ,  incolae,  accolae,  advenae  omnes,  date  viam  qua  fugere 
liceat.  He  complains  of  the  beating  he  has  received,  totus  doleo 
atque  oppido  perii,  but  from  the  nature  of  the  situation  the  effect  is 
merely  comic.  Again  the  facts  narrated  are  not  known  to  the 
audience  but  unimportant. ^ 

*  The  striking  similarity  between  Cist.  671  and  AuL  713  may  be  used  as  cumulative 
evidence  that  Menander  was  the  author  of  the  Greek  models  in  both  cases. 

-  With  this  monody  may  be  compared  Rud.  615,  a  monologue  in  recitative  follow- 
ing a  monologue  in  senarii.     Trachalio,  rushing  from  the  temple  to  complain  of  the 


Studies  in  the  Songs  of  Flautine  Comedy 


29 


Allied  in  feeling  to  these  songs  that  portray  grief,  fear,  or  despair, 
are  those  in  which  the  singer  expresses  self-reproach  and  chagrin. 
In  Bac.  612  Mnesilochus,  who  through  distrust  of  his  friend  and 
sweetheart  has  given  to  his  father  the  money  which  was  to  purchse 
her  freedom,  in  regret  at  his  impetuous  act,  reproaches  himself 
bitterly:  Petulans,  protervo  iracundo  animo,  indomito,  incogitato 
sine  modo  et  modestia  sum.  The  songs  of  the  old  men  frequently 
express  their  self-reproach  and  chagrin  when  they  discover  how  they 
have  been  made  victims  of  the  intrigue.  Nicobulus  {Bac.  1087)  is 
greatly  ashamed  of  his  stupidity.  Quiquomque  ubi  sunt,  qui  fuerunt 
quique  futuri  sunt  posthac  stulti,  stolidi,  fatui,  fungi,  bardi,  blenni, 
buccones,  solus  ego  omnis  longe  antideo  stultitia.  It  is  not  the  loss 
of  the  money  that  distresses  him,  but  the  thought  that  he  has  allowed 
himself  to  be  cheated  twice.  The  brief  narrative  of  1096ff.  gives 
facts  already  known  to  the  audience.  The  same  emotion  is  expressed 
in  Hegio's  monody  (Capt.  781).  His  fear  is  that  he  will  become  a 
laughing  stock  throughout  the  city  when  the  trick  becomes  known. 
So  also  in  Cas.  937  Lysidamus  comes  on  the  stage  covered  with  morti- 


leno's  violence,  calls  for  help  in  much  the  same  way  as  the  cook  did.  Pro  Cyrenenses 
populares!  vostram  ego  imploro  fidem,  agricolae,  accolae  propinqui  qui  estis  his  regioni- 
busj  ferte  opem  inopiae.  The  use  of  the  monologue  rather  than  song  form  here  is 
probably  due  to  the  conventions  of  entrance  technique;  it  is  preceded  by  Daemones' 
monologue  narrating  his  dream.  (See  p.  15.)  Moreover,  the  efifect  of  Palaestra's 
monody  (664  see  above),  which  follows  fifty  lines  later,  would  be  weakened  if  it  were 
preceded  at  such  a  short  interval  by  another  song  of  similar  nature.  There  are  four 
other  monologues  that  express  emotion  of  this  sort,  grief,  despair,  or  fear.  Two  of  these 
may  be  explained,  as  Rud.  615,  by  the  conventions  of  entrance  technique;  Amph.  882 
(senarii)  is  an  emotional  monologue  in  which  Alcumena  expresses  her  grief  at  her 
husband's  unjust  accusations,  a  monologue  in  senarii  following  the  prologizing  entrance 
monologue  of  Jupiter,  also  in  senarii.  The  entrance  monologue  of  Dorippa  {Merc.  700) , 
also  in  senarii,  is  emotional;  Dorippa,  coming  out  of  the  house  after  she  has  discovered 
the  girl  inside,  laments  her  own  unhappy  fate  in  the  words  Miserior  muLier  me  necfiet 
nee  fuit,  tali  viro  quae  nupserim.  But  since  it  is  preceded  by  Lysimachus'  entrance 
monologue  narrating  off-stage  action  in  senarii,  its  monologue  form  is  in  accordance 
with  the  ordinary  procedure  of  entrance  (p.  15) .  The  other  two  emotional  monologues 
of  this  sort  are  also  in  the  Mercator.  At  588,  Charinus  considers  in  anxiety  the  uncer- 
tainty of  his  fate  as  he  waits  for  Eutychus.  At  830,  after  making  up  his  mind  to  leave 
home  he  returns  sadly  for  a  last  farewell.  The  question  of  entrance  technique  does  not 
affect  these  monologues  since  they  are  both  entrance  monologues  of  A  but  the  fact 
that  they  both  occur  in  the  M creator,  a  play  with  very  little  song,  is  important.  It  is 
important  to  observe  that  these  emotional  monologues  are  both  in  trochaic  septenarii, 
following  iambic  senarii. 


30 


Studies  in  the  Songs  of  Plautine  Comedy 


fication  and  shame.  In  the  case  of  the  leno^  {Pers.  777)  it  is  the  loss 
of  his  money  that  arouses  his  lamentations  and  he  bewails  his  mis- 
fortune in  words  much  like  those  of  Nicobulus  (Bac.  1087-89) :  Qui 
sunt,  qui  erunl  quique  fuerunt  quique  futiiri  sunt  posthac,  solus  ego  omni- 
bus antideo  facile,  miserrumus  hominum  ut  vivam.  The  narrative  of 
781  ff.  is  of  facts  already  known  to  the  audience. 

The  monody  in  some  cases  expresses  anger.  In  Asin.  127  the 
young  man,  Argyrippus,  who  has  evidently  been  forcibly  thrust 
out  of  the  house,  cries  out  in  a  rage  against  the  lena  and  threatens 
legal  procedure.''  Menaechmus  {Men,  110)  rails  at  his  wife  who, 
like  the  lena  in  Asin.  127,  is  in  the  house,  and  threatens  to  indulge  in 
any  pleasures  that  he  likes.  In  Cas.  144  it  is  the  wife  who  expresses 
her  indignation  and  anger  at  her  husband. 

The  monody  of  the  servus  currens  expresses  eagerness  and  breath- 
less haste  and,  ordinarily,  joy  at  his  good  tidings.     In  Capt.  768 
the  parasite  Ergasilus,  returning  from  the  harbor  with  the  news  that 
Hegio's   son   has   returned,   sings   the   conventional   servus   currens 
monody.^     The  song  is  taken  up,  for  the  most  part,  with  his  anticipa- 
tion of  the  joys  in  store  for  him  as  a  reward  for  bringing  the  news,  but 
he  does  not  state  expressly  what  his  good  tidings  are.     In  Stick.  274 
Pinacium  rushes  back  from  the  harbor  in  great  excitement  and  joy. 
Again  the  news  of  the  return  of  Epignomus  is  implied  rather  than 
stated,  and  the  thought  of  the  reward  expected  is  uppermost  in  his 
3  With  this  may  be  compared  the  brief  monologue  in  iambic  septenarii  of  Labrax 
{Rud.  1281).     The  situation  is  the  same  for,  in  both  cases,  the  leno  has  been  dragged  to 
court,  the  girl  taken  away  from  hun,  and  he  returns  to  lament  his  misfortune.     But 
the  monologue  differs  decidedly  from  the  monody.     The  emotional  element  is  briefly 
and  coldlv  expressed  in  the  monologue,  and  the  main  part  of  the  speech  is  concerned 
with  the  exposition  of  important  action  not  already  known  to  the  audience,  a  comment 
in  the  form  of  a  pun  on  the  pleasure  taken  in  the  discomfiture  of  a  leno  and  the  state- 
ment of  his  purpose  in  coming.    Although  Labrax  left  the  stage  nearly  400  lines  before, 
the  recognition  scene  has  interv-ened  and  the  result  of  the  action  has  not  yet  been  dis- 
closed     In  the  monody,  however,  the  inevitable  result  of  the  praetor's  action  is 
easily  anticipated  bv  the  audience  and  the  downfall  of  the  letw  has  already  been 
celebrated.    The  emphasis  of  the  monody,  then,  is  on  the  emotional  element  and  its 
incoherence  and  excitement  are  entirely  lacking  in  Labrax's  cahn  and  orderly  state- 
ment of  the  case. 

*The  shift  to  recitative  at  138  is  not  accompanied  by  a  corresponding  shilt  ot 
emotion.  See  p.  12.  The  identity  of  the  singer  is  of  no  importance  from  this  point 
of  view.     (On  Havet's  theory  cf .  Revue  de  Phil.  XXIX,  94.) 

'  This  is  not  given  as  a  monody  by  Leo  {Monolog  59)  but  its  combination  of  iam- 
bic octonarii  and  trochaic  septenarii  is  very  much  like  that  of  Capt.  516.  which  is  so 
designated  by  him. 


Studies  in  the  Songs  of  Plautine  Comedy 


31 


mind  (281-2).  He  exhorts  himself  to  hasten  and  threatens  those  who 
get  in  his  way  (284-7).  Of  a  different  tone  is  the  servus  currens 
monody  of  Merc.  111.  As  the  news  Acanthio  brings  is  bad  news 
there  is  naturally  none  of  the  joy  of  the  preceding  monodies.  The 
chief  emotion  is  that  of  breathless  eagerness  and  he  exhorts  himself  to 
hurry  in  spite  of  his  physical  exhaustion.  The  first  lines  of  Mercury's 
song  (Amph.  984  ff.)  are  the  conventional  words  of  a  servus  currens: 
Concedite  atque  apscedite  omnes,  de  via  decedite,  nee  quisquam  tarn  audax 
fuat  homo  qui  obviam  opsistat  mihi.  But  the  next*  lines  show  that 
it  is  a  humorous  parody  of  the  servus  currens  monologue  rather  than  a 
serious  expression  of  haste:  Nam  mihi  quidem  hercle  qui  minus 
liceat  deo  minitarier  populo,  ni  decedat  mihi,  quam  servolo  in  comoediis? 
UV  navem  salvam  nuntiat  aut  irati  adventum  senis.  The  rest  of  the 
monody  is  a  prologizing  account  of  future  action.     (See  p.  35.)^ 

The  most  frequent  expression  of  joy  is  the  song  of  triumph  of  the 
arch-intriguer  at  the  success  of  his  scheme.     In  Bac.  640  Chrysalus 

« There  are  several  servus  currens  monologues  in  recitative  but  none  in  senarii,  a 
natural  outcome  of  the  excited  nature  of  the  scene.  The  monologue  of  the  parasite 
Curculio  {Cure.  280)  does  not  indicate  whether  his  news  is  good  or  bad  but  consists 
simply  of  a  succession  of  threats  warning  people  to  get  out  of  his  way.  These  conven- 
tional threats  are  found  in  brief  form  in  monody  {Stick.  285-7)  and  in  more  detailed 
form  in  Capt.  790  ff.,  when  the  monody  of  Ergasilus  (768-80)  is  resumed  in  recitative 
after  Hegio's  monody.  The  monologue  of  Epidicus  {Epid.  192)  may  be  compared  in 
form  with  this  monologue  of  Ergasilus.  Both  enter  with  a  jo>^ul  monody,  which  after 
an  interruption  by  another  speaker  becomes  a  monologue.  In  the  passage  of  the 
Epidicus,  Epidicus'  monody  is  followed  by  a  brief  dialogue  in  trochaic  septenarii  of 
Apoecides  and  Periphanes,  already  on  the  stage  (190-92).  Epidicus,  seeing  them, 
remarks  on  their  presence  in  trochaic  septenarii  (192-3),  then  addresses  himself  in 
iambic  octonarii  (194-5)  and  in  196-200  gives  the  servus  currens  speech  proper  in  troch. 
sept.  This  brief  monologue  expresses  the  conventional  eager  haste.  In  Trin.  1008, 
Stasimus  urges  himself  to  hasten,  going  off  into  a  long  and  irrelevant  digression.  The 
monologue  in  Asin.  267  expresses  joy  at  the  good  news  which  the  speaker  is  bringing. 
The  monologue  of  Tranio  {Most.  348),  though  not  strictly  a  servus  currens  monologue, 
resembles  them.  Tranio,  coming  back  from  the  harbor  with  the  news  of  Theopropides' 
return,  delivers  an  emotional  monologue  which  is  expository  of  important  action. 
This,  unlike  the  other  servus  currens  monologues  and  monodies,  is  not  overheard  by  the 
persons  on  the  stage.  Terence  as  well  as  Plautus  uses  recitative  rather  than  senarii 
for  the  serous  currens  {Adelp.  299,  And.  338,  Ph.  179,  841).  For  the  part  played  by  the 
servus  currens  see  Wagner  De  Nuntiis  Comicis  (1910)  and  Weissmann  De  Servi  Currentis 
Persona  apudComicos  Romanos  (1911).  Leo,  PI.  Forsch.- 137  points  to  the  prototype 
in  Old  Greek  Comedy  of  the  slave  who  brings  his  master  good  news  and  compares 
PlutUS  644  Tax«wy,  raxcws,  0€p'  olvov  w  dkairoLv\  Iva  KavT-q  xtry?  with  the  words  of 
Ergasilus  {Capt.  843  ff.)  and  ws  ayada  ovWv^Srjv  Siiravrk  trot  <^tpui  (646)  with  Ca/»/.  869 
and  Stick.  339. 


32 


Studies  in  the  Songs  of  Plautine  Coynedy 


expresses  his  exaltation  at  having  cleverly  deceived  the  senex  and 
helped  his  young  master.  He  considers  that  his  act  has  been  the 
proper  kind  of  service  and  wonders  how  much  money  Mnesilochus 
decided  to  keep.  Later  in  the  play  when  his  second  trick  proves 
successful  and  the  money  has  been  obtained  from  Nicobolus  he  sings 
a  joyful  and  triumphant  monody  of  more  than  fifty  lines  that  carries 
out  in  detail  an  elaborate  simile  of  the  Trojan  War  {Bac.  925).  He 
likens  himself  to  Agamemnon,  Nicobolus  to  Priam,  and  compares  the 
steps  of  the  intrigue  to  those  by  which  Troy  was  taken.  The  military 
figure  is  common  in  songs  of  this  sort,  but  this  is  unique  in  the  particu- 
lar details  given  and  its  elaborate  form.  So  in  Pers.  753  Toxilus' 
song  of  triumph  at  his  success  begins  with  two  lines  wholly  military 
in  language  Hostihu'  victiSy  civibu'  salvis,  re  placida,  pacibu'  perjectis, 
belle  exsiincto,  re  bene  gesta,  integro  exercitu  et  praesidiis.  After 
expressing  his  gratitude  to  the  gods  he  turns  to  the  preparation  of 
the  banquet  with  which  they  are  to  celebrate  their  triumph.  Pseu- 
dolus  {Pseud.  574)  sings  with  joyful  self-confidence  of  the  success 
in  prospect.  His  monody  also  is  full  of  metaphors  from  the  military 
field  ubiquomque  hostibu''  congrediar  ....  facile  ut  vincam,  facile  ut 
spoliem  meos  perduellis  meis  perfidiis  (580-3)  and  meas  legiones  adducam 
(586),  for  instance.^  Epidicus'  monody  {Epid.  181),  though  shorter, 
has  the  same  tone  of  bold  self-confidence.  The  joy  expressed  may 
be  the  premature  satisfaction  of  the  ane  who  is  later  to  prove  the 
victim  of  the  intrigue.  Dordalus  {Pers.  470),  the  leno,  comes  in 
and  tells  with  complacent  pride  of  the  good  bargain  which  he  has 
made.  This  emotion  is  made  as  strong  as  possible  since  it  leads  to  his 
downfall  and  is  contrasted  with  his  later  discomfiture  (777).  The 
slight  narrative  is  of  facts  already  known  or  easily  guessed  by  the 
audience.^  The  song  may  express  the  grateful  joy  of  the  father 
who  has  found  his  son,  as  Hegio's  prayer  of  thanksgiving  at  the 
return  of  Philopolemus  {Capt.  922).^     The  monody  of  Lysiteles  {Trin. 


'  Pseudolus'  later  monok)gue  (septenarii)  667  and  Tranio's  monologue  (senarii) 
{Most.  TIS)  may  naturally  be  compared  with  these  because  of  their  tone  of  triumphant 
self-confidence  but  they  are  both  link  monologues  and  song  is  ordinarily  used  only  for 
entrance  monologues. 

8  With  the  emotion  expressed  compare  Capt.  498  and  see  pp.  34  f . 

'With  this  may  be  compared  Daemones'  monologue  (senarii)  Rud.  1191.  He 
exclaims  over  his  joy  at  having  found  his  daughter  in  the  words  Pro  di  immortales! 
quis  me  est  fortunatior  qui  ex  improviso  filiam  inveni  meant,  but  the  main  part  of  his 
monologue  consists  in  exposition  of  action  essential  for  the  plot  and  a  disgusted  com- 


Studies  in  the  Songs  of  Plautine  Comedy 


33 


1115)  expresses  his  pleasure  at  the  news  that  Charmides  has  re- 
turned.^° 

The  emotion  expressed  may  be  joy  artificially  aroused  by  wine. 
In  Pseud.  1246  Pseudolus  comes  on  the  stage,  hilarious  and  intoxi- 
cated, and  describes  the  banquet  that  he  has  just  left.  Although 
there  is  a  narrative  element  in  the  song,  the  narrative  is  of  irrelevant 
and  unessential  action.  With  this  may  be  compared  the  short 
monody  of  Callidamates,  who  is  also  under  the  enlivening  influence 
of  wine  {Most.  313).  The  lena's  praise  of  wine  {Cure.  96)  is  also 
in  song  form,  though  it  differs  from  the  song  of  Pseudolus  in  that  the 
joy  is  that  of  anticipation  rather  than  realization. 

The  prayer  song  is  a  natural  outburst  of  gratitude  to  the  gods. 
Trin.  820  is  the  prayer  of  the  returning  traveller  expressing  his 
gratitude  to  Neptune  for  his  safe  return.  The  whole  prayer  is  a 
direct  address  to  the  god,  praising  him  for  his  kindness  and  defending 
him  from  adverse  criticism.  The  song  merely  expresses  the  emotion 
of  the  singer  without  contributing  to  the  action.^^  The  other  two 
long  song  prayers,  Pers.  251  and  Rud.  906,  on  the  other  hand,  narrate 


ment  on  the  over-indulgence  in  emotion  on  the  part  of  his  wife  and  daughter.    In  its 
narrative  of  important  future  action,  it  is  essentially  a  prologizing  monologue,  which 

is  regularly  written  in  senarii. 

^0  Examples  of  monologues  expressing  joy  are  Atd.  808,  Merc.  842,  Stick.  655,  and 
Triic.  699.  AuJ.  808  is  a  very  brief  monologue  (three  lines)  expressing  the  joy  of  the 
slave  at  having  found  the  treasure.  The  use  of  recitative  may  be  explained  by  the 
fact  that  it  occurs  in  the  last  scene  of  the  play,  which  is  regularly  in  trochaic  septenarii. 
The  monologue  form  of  both  Merc.  842  and  Stick.  655  may  be  explained  by  the  con- 
ventions of  entrance  technique  as  they  are  both  entrance  monologues  of  B  following 
the  entrance  monologue  of  A  (see  pp.  15  f.).  In  the  first  case  after  the  mournful  mono- 
logue of  Charinus,  Eutychus  rushes  out  in  excited  joy  since  he  has  found  that  the  girl 
for  whom  they  are  looking  is  already  in  the  house  (both  monologues,  recitative).  The 
fact  that  the  Mercalor  contains  little  song  must  again  be  noted.  In  Slick.  655  after 
the  prayer  of  the  returned  traveller,  conventionally  in  senarii,  Stichus  comes  in  and 
expresses  his  joy  in  a  brief  monologue  (655-9),  which  is  also  in  senarii.  True.  699  is 
the  monologue  of  Diniarchus  telling  of  his  great  good  fortune  and4ie  successful  turn 
of  his  love-affair.  It  is  unique  in  being  an  emotional  entering  monologue  of  A  (reci- 
tative after  senarii)  followed  by  the  non-emotional  entering  monody  of  B.  Again,  the 
Truculentus  diverges  from  the  norm  as  in  many  other  matters. 

"  There  are  several  travellers'  prayers  in  senarii:  Bac.  170;  Merc.  678;  Most.  431; 
Poen.  950;  Stick.  402;  but  none  in  septenarii.  These  differ  from  the  song  Trin.  820  m 
being  stereotyped  and  conventional  in  form;  they  are  formal  and  ritualistic  rather  than 
emotional.  Instead  of  an  elaborate  expression  of  gratitude,  only  a  brief  phrase  or,  at 
the  most,  two  or  three  lines  are  addressed  to  the  god.  The  prayer  is  used  as  a  conveni- 
ent method  of  introducing  the  speaker  and  informing  the  audience  of  certain  facts. 


34 


Studies  in  the  Songs  of  Plautine  Comedy 


facts  necessary  for  the  progress  of  the  action.  Rud.  906  is  a  monody 
sung  by  the  fisherman,  Gripus,  when  he  enters  with  the  box  containing 
the  crepundia  by  which  Palaestra's  identity  is  to  be  proved.  His 
prayer  is  also  addressed  to  Neptune  but  it  is  to  Neptune,  god  of 
fishermen,  rather  than  to  Neptune,  protector  of  travellers  by  sea. 
His  expression  of  gratitude  for  his  strange  catch  takes  a  much 
simpler  form  than  in  Trin.  820:  Neptune  has  ago  graiias  meo  patrono 
qui  salsis  locis  incolit  pisculentis.  He  goes  on  to  relate  that  he  rose 
early  and  went  out  into  the  storm  as  a  faithful  slave  should  do, 
digressing  in  reflections  on  the  duty  of  a  slave. ^-  Then,  giving  free 
rein  to  his  imagination,  he  builds  air-castles  with  the  possible  contents 
of  the  box.  In  Pers.  251,  the  slave  Sagaristio  gives  thanks  lovi 
opulento,  indulOj  Ope  gnato,  supremo^  valido,  viripotenti,  for  his  good 
fortune  in  being  able  to  serve  a  friend.  He  explains  that  he  intends 
to  give  to  Toxilus  the  money  which  his  master  has  given  him  for 
buying  oxen,  and  reflects  with  cheerful  unconcern  on  the  punishment 
which  he  expects  for  his  action.  Although  both  these  songs  {Rud. 
906  and  Fers.  251)  narrate  facts  necessary  for  the  development  of  the 
plot  they  resemble  Trin.  820  in  portraying  deep  joy  and  gratitude. 
They  differ  from  it  in  that  the  emotion  while  coloring  the  whole 
narrative  finds  direct  expression  only  in  the  first  lines.  All  three 
prayer  songs  occur  in  plays  rich  in  song. 

This  strong  emotional  coloring  is  found  even  in  most  of  the  songs 
that  primarily  narrate  action.  Joyful  self-satisfaction  is  the  key-note 
of  the  song  that  Hegio  sings  (Capt.  498)  when  he  comes  in  con- 
gratulating himself  on  his  wisdom  in  buying  prisoners:  Quid  est 
suaviu^  quant  bene  rem  gerere  bono  publico,  sicut  ego  feci  heri,  quom  emi 
hosce  homines.  Then  he  goes  on  to  relate  in  detail  his  action  since 
he  left  the  stage,  action  that  is  essential  to  the  development  of 
the  plot.^^     In  Cas.  875,  on  the  other  hand,   the  slave  Olympio 


Several,  especially  Bac.  170,  Poen.  950,  and  Stick.  402,  are  really  prologizing  mono- 
logues in  their  niiration  of  essential  presuppositions  of  the  plot.  The  short  link 
prayer  Merc.  678  is  not  narrative  but  is  obviously  a  mechanical  means  for  filling  a  time 
interval. 

"  Fraenkel  De  media  et  nova  comoedia  quaestiones  sclcctae  (1912)  51  remarks  on  the 
lack  of  the  detailed  narrative  which  might  be  expected  to  follow  914-17.  He  thinks 
that  there  was  such  a  narrative  in  Diphilus,  for  which  Plautus  substituted  general 
sentiments  as  more  suitable  for  song.  His  comparison  with  Bac.  640  lacks  force  as 
there  is  no  reason  to  think  that  there  was  ever  any  narrative  at  that  point. 

"  This  may  be  compared  with  Pcrs.  470  in  showing  the  premature  satisfaction  of 
the  later  victim  but  in  Dordalus'  monody  there  is  less  narrative  and  the  narrative  is  of 
less  essential  facts.     See  p.  32. 


Studies  in  the  Songs  of  Plautine  Comedy 


35 


enters  overcome  with  mortification   and  shame:  iVeg«e  quo  fugiam 
neque  ubi  lateam  neque  hoc  dedecu'  quo  modo  celem  scio,  tantum  erus 
atque  ego  flagitio  superaviu'  nuptiis   nostris.      Then  with  the  direct 
address  to  the  audience  operam  date,  dum  mea  facta  itero,  he  tells 
what  happened  off-stage  and  how   the   trick  was   discovered.     In 
both  these  songs  there  is  a  clear  demarcation  between  the  expression  of 
emotion  (Capt.  498-504  and  Cas.  875-78)  and  the  simple  and  straight- 
forward narrative  of  the  rest  of  the  song.     The  narrative  itself  in 
both  songs  and  the  direct  address  to  the  audience  inCas.  879  resemble 
the  prologizing  monologue  closely.     A  still  better  example  of  the 
prologizing  monody  is  Amph.  984,  the  song  of  Mercury.     The  song 
begins  like  that  of  a  servus  currens  (See  p.   31).     Then  Mercury 
describes  his  own  function  and  the  character  of  his  master.     After 
that  he  goes  on  to  give  an  account  of  future  action  in  detail,  beginning 
with  the  direct  address  to  the  audience  (997-8)  faxo  probe  iam  hie 
deludetur,    spectatores,    vobis    inspectantibus.     This    monody    differs 
from  those  just  discussed,  first  in  lacking  the  emotional  setting  of 
Capt.  498-504  andCa^.  875-78,  and  second  in  that  the  action  described 
is  entirely  unessential  and  trivial.^*     True.  448  is  also  prologizing. 
In  the  first  lines  (448-62)  Phronesium  reflects  with  feigned  emotion 
on  the  anxious  cares  of  mothers.     Then,  directly  addressing  the 
audience,  (463)  vosmet  iam  videtis  ut  ornata  incedo,  she  explains  the 
trick  that  she  is  playing,  the  meter  changing  almost  at  once  to 
recitative.     Since  the  facts  are  already  known  to  the  audience,  the 
explanation  is  unessential. 

In  the  case  of  the  two  narrative  monodies  of  the  Amphitruo  the 
background  furnished  by  the  tragic  messenger  must  be  considered. 
In  1053  Bromia,  the  ancilla,  rushes  forth  from  the  house  in  breathless 

»*With  this  may  be  compared  two  prologizing  monologues  of  the  Amphilruo 
which  are  very  similar,  that  of  Mercury  (463)  and  that  of  Jupiter  (861),  both  of  which 
narrate  future  action  with  a  direct  address  to  the  audience  iamne  hoc  scitis  quid  siet 
485  and  nunc  hue  honoris  vostri  venio  gratia  867.  Both  of  these  monologues,  as  well  as 
Mercury's  monody,  are  entirely  unessential  for  the  structure  of  the  play  as  far  as  their 
content  goes.  Prologizing  monologues  may,  however,  give  important  presuppositions 
of  the  plot  as  Cist.  120  (exit),  Bac.  170,  Poen.  950,  Stich.  402.  The  future  action  that 
they  narrate  may  be  important,  as  in  Rud.  1191  or  unessential  as  Pseud.  562  (exit)  and 
Stich.  673.  The  audience  is  addressed  either  by  implication  or  directly  as  Cist.  146, 
Pseud.  562,  Stich.  410,  673.  These  prologizing  monologues  are  ordinarUy  in  senarii, 
the  meter  regularly  used  for  prologues  (Stich.  673  iambic  sept.).  The  prologue  proper 
of  the  Truculentus,  which  gives  very  little  information  about  the  plot,  is  followed 
by  the  prologizing  monologue  of  Diniarchus  22-94,  which  narrates  in  detail  the  neces- 
sary presuppositions  of  the  plot,  also  in  senarii. 


36 


Studies  in  the  Songs  of  Plautine  Comedy 


Studies  in  the  Songs  of  Plautine  Comedy 


37 


terror  with  the  words  Spes  atque  opes  vitae  meae  iacent  sepultae  in 
pectore — me  miser  am  quid  a  gam  nescio}^  Then  in  dignified  and  impres- 
sive language  she  describes  the  miraculous  birth  of  Hercules.  Bro- 
mia's  song  is  naturally  compared  with  the  narrative  monody  of  the 
Phrygian,  Euripides  Orestes  1369ff.,  when  he  rushes  forth  in  terror  to 
tell  of  Helen's  death.  Although  this  is  the  one  example  in  Greek 
tragedy  of  the  messenger's  narrative  in  song  rather  than  in  iambic 
trimeter,  it  is  easy  to  see  how  the  use  of  song  in  messengers'  roles 
might  be  extended  by  later  writers  when  there  was  a  desire  to  empha- 
size the  emotion. 1^  The  next  step  in  the  natural  development  would 
be  the  use  of  song  in  messenger  speeches  in  which  the  emotion  was 
not  emphasized.  An  example  of  this  is  Sosia's  monody,  Amph.  153. 
Sosia,  Amphitruo's  slave,  comes  in  somewhat  frightened  at  the 
lonely  night  hour  and  lamenting  the  hard  fate  of  the  slave  of  a  rich 
man.  He  has  been  sent  to  inform  Alcumena  of  what  has  happened 
and  decides  to  practise  his  speech  beforehand,  prius  ipse  mecum 
etiam  volo  hie  meditari.  sic  hoc  proloqiiar  (202).  From  this  point 
the  monody  consists  of  a  long,  detailed  narrative  of  previous  action 
changing  to  iamb.  oct.  at  248  and  to  troch.  sept,  at  263  and  inter- 
rupted by  the  side  remarks  of  the  listening  Mercury.  This  monody 
differs  from  that  of  Bromia  in  its  lack  of  emotion  and  in  the  greater 
length  of  the  narrative.  It  is  in  subject-matter  and  style  quite 
clearly  a  parody  of  the  conventional  messenger's  speech  in  tragedy. ^^ 

^^This  may  be  compared  with  Cos.  621  when  Pardalisca  rushes  out  of  the  house 
in  feigned  terror  at  Casina's  madness,  but  in  the  Casina  the  actual  narrative  is  given  in 
duet  in  answer  to  questions  rather  than  in  monody.  Moreover  Pardalisca's  monody 
is  merely  a  parody  on  the  tragic  messenger  for  comic  effect.     See  p.  28. 

^'  Leo,  PI.  Cant.,  92  points  out  the  resemblance  between  Orest.  1369  ff.  and  A  mpli. 
1053  5.  (Cf .  also  Monolog  73,  Fraenkel  op.  cit.  39  and  65  and  Fischl  De  nuntiis  tragicis, 
Dissert.  Vindobonenses  vol.  X  (1910)  67).  The  probable  extension  of  the  use  of  song 
in  cases  of  this  sort  is  discussed  byHenning  De  tragicorum  Atlicorum  narrationibus 
(1910)  26  "in  monodia  Phrygis  hi  affectus  metris  et  arte  musica  expressi  sunt  et  sic 
afiPectuum  in  ceteris  narrationibus  ratione  habita  intellegimus  facile  accidere  potuisse 
ut  hae  narrationes  ad  monodiam  adducerentur."  He  points  to  the  similarity  of  form 
between  this  monody  and  the  narrative  chorus  of  Hel.  515.  Leo  {PL  Cant.  79)  con- 
siders this  monody  important  as  a  model  "Man  geht  gewiss  nicht  fehl,  wenn  man 
dieses  Stiick  unter  die  Muster  derauf  Euripides  folgendendramatischenLyrik  rechnet." 
For  the  messenger  in  comedy  see  also  Beyer  De  scaenis  cofnoediae  veleris  quibus,  quae 
ad  actionem  spectant,  narrantur,  nofi  aguntur  (1912). 

^^  Leo,  PL  Forsch.^  134  points  out  the  special  resemblance  of  Sosia's  speech  to  the 
description  of  the  battle  by  the  messenger  in  Eur.  HerakL  800  ff.,  which  is,  however, 
in  iambic  trimeter. 


The  fact  that  it  is  the  only  narrative  song  in  Plautus  which  is  not 
justified  in  some  measure  as  song  by  its  emotional  coloring  is  in  itself 
significant.  The  narrative  of  the  battle  is  of  little  importance  for  the 
development  of  the  plot.^^ 

The  significance  of  the  emotional  content  of  song  is  sometimes 
brought  into  prominence  through  the  artifice  of  contrasted  songs 
portraying  opposite  emotions.     In  the  Bacchides  Mnesilochus'  mon- 
ody expressing  self-reproach  and  despair  (612)  is  contrasted  with  Chry- 
salus'  song,  congratulating  himself  triumphantly  on  his  success  (640). 
Mnesilochus'  first  lines,  in  which  he  upbraids  himself  bitterly,  are  con- 
trasted with  Chrysalus'  complacent  statement  that  he  deserves  a 
golden  statue.     Mnesilochus  feels  that  he  no  longer  deserves  a  friend; 
Chrysalus  thinks  that  he  has  fulfilled  the  whole  duty  of  a  slave  to  his 
master.     Mnesilochus  gives  as  the  reason  for  his  self-reproach  qui 
patri  reddidi  omne  aurum  amans  (623).     Chrysalus  echoes  the  words 
when  he  wonders  quantum  erus  sibi  dempsit  et  quid  sua  reddidit  patri 
(663).     The  two  monodies  are  separated  by  a  short  duet  between 
Mnesilochus  and  his  friend  continuing  the  tone  of  the  first  monody. 
The  two  monodies  begin  with  three  lines  in  the  same  meter  and  then 
change  to  different  meters.     So,  too,  at  the  end  of  the  Persa,  the 
triumph  of  Toxilus'  monody,  rejoicing  at  his  success  and  preparing  to 
celebrate  (753),  is  in  direct  contrast  to  Dordalus'  deep  chagrin  at  his 
defeat  and  sorrow  over  the  loss  of  his  money  (777).  Like  the  duet  in 
Bacchides  a  short  trio,  carrying  out  the  tone  of  the  first  monody, 
separates  the  two  monodies,  which  are  about  equal  in  length  and 
written  in  the  same  meter.     In  Captivi  the  balance  is  even  more 
strongly    brought    out.     Hegio's   joyful    monody    of    498    contrasts 
directly   with   Tyndarus'  despairing  monody  516,  while  Ergasilus' 
joyful  monody  768  contrasts  with  Hegio's  disconsolate  monody  781. 
Not  only  are  there  two  balanced  pairs  of  monodies  expressing  in  regu- 
lar alternation  joy  and  sorrow,  but  the  contrast  is  further  emphasized 
by  the  close  parallelism  between  the  first  joyful  monody  of  Hegio  498 
and  his  second  sad  monody  781.     In  the  first  song  he  prides  himself 
on  his  wisdom  and  expresses  his  pleasure  at  the  congratulations  of 
his  fellow  citizens,  while  in  the  second  he  bewails  his  own  stupidity 
and  fears  laughter  at  his  expense  when  his  folly  becomes  known. 
The  lines  Ubi  quisque  vident,  eunt  obviam  gratulanturque  earn  rem  .... 
vix  ex  gratulando  miser  iam  eminebam  (501,  504)  correspond  with 
quod  quom  scibitur  tum  per  urbem  inridebor,  quom  extemplo  ad  forum 

-*  See  excursus  at  end  of  chapter. 


38 


Studies  in  the  Songs  of  PlauUne  Comedy 


adveneroy  omnes  loquentur:  ' hie  illest  senex  doctus  quoi  verba  data  sunt' 
(785-87).  The  chiastic  arrangement  of  the  meter  of  the  four  songs 
makes  the  parallelism  between  the  two  monodies  of  Hegio  still 
stronger:  498  bacchiac,  516  iamb,  oct.,  troch.  oct.  and  sept.,  768 
troch.  sept,  iamb,  oct.,  781  bacchiac. ^^ 

In  addition  to  the  songs  that  are  purely  emotional  and  those  that 
have  a  narrative  element,  there  are  certain  songs  that  are  reflective 
in  character.  In  the  reflection,  a  certain  amount  of  emotion  may  be 
involved.  In  Bac.  1076  Philoxenus  reflects  with  anxious  concern 
on  the  conduct  of  his  son.  In  True.  448  Phronesium,  in  her  assumed 
role  of  mother,  reflects  with  feigned  emotion  on  the  anxious  cares  of 
mothers.2o  The  short  monody  of  Pseud.  905  consists  of  reflections  on 
the  character  of  the  sycophant  colored  by  a  certain  anxiety  and 
impatience.  In  Epid.  81,  Epidicus,  in  the  rare  link  monody  after 
the  duet  in  which  he  learns  of  the  complicated  problem  before  him, 
reflects  on  the  proper  method  of  extricating  himself  from  his  diffi- 
culties, exhorting  himself  to  action  with  the  thought  ilaque  in  te 
inruont  monies  mali  (84).  The  narrative  of  facts  88-90  continues  the 
exposition  of  the  preceding  duet.  The  song  of  Sophoclidisca  (P^^ri. 
168)  consists  for  the  most  part  in  impatient  and  irritated  remarks 
addressed  to  her  mistress  who  is  in  the  house,  ending  with  two  lines 
reflecting  on  the  wretchedness  of  a  person  in  love. 

The  most  important  group  of  these  reflective-emotional  songs 
consists  of  those  sung  by  the  adulescentes  on  the  general  topic  of 
love.  These  differ  in  the  relative  amount  of  emotion  and  generalizing 
reflection.  In  Cist.  203,  Alcesimarchus  follows  his  general  statement 
credo  ego  Amorem  .primum  apud  homines  carniificinam  commentum 
directly  with  the  personal  application  hanc  ego  de  me  conjecturam 
domifacio.  He  goes  on  to  relate  his  sufferings  in  detail  and  tells  how 
Love  tortures  him.  His  brief  statement  that  his  father  has  kept  him 
in  the  country  so  that  he  has  not  seen  his  love  for  six  days  merely 
explains  his  emotion  rather  than  narrates  important  facts.  In  Merc. 
335   Charinus  complains  of  his  ill-fortune  and  wretchedness  and 

19  The  joyful  monody  of  Ergasilus  also  contrasts  with  his  doleful  monologue  of 
461.  In  461  he  is  utterly  discouraged  at  his  lack  of  success  in  getting  an  invitation  to 
dinner;  in  768  he  joyfully  anticipates  feasts  without  end.  A  clear  parallel  in  language 
is  seen  in  the  lines  Nam  herclc  ego  huic  die,  si  liceat,  ocidos  ecjodiam  libens,  ita  yyialigni- 
tate  oneravit  omnis  mortalis  mihi  (464-5)  and  ita  hie  me  amocnitate  amoena  amoenus 
oneramt  dies  (774).  The  monologue  is  in  trochaic  septenarii  and  the  monody  com- 
bines trochaic  septenarii  and  iamb,  octonarii. 

2°  For  the  prologizing  force  of  the  last  part  of  this  monody  see  p.  35. 


Studies  in  the  Songs  of  Plautine  Comedy 


39 


considers  whether  he  shall  follow  the  slave's  advice  or  not.  In 
despair,  he  declares,  igitur  hoccine  est  amare?  arare  mavelim  quam  sic 
amare  (356).  The  brief  narrative  is  of  facts  already  known  to  the 
audience  and  again  merely  justifies  his  emotion.  In  Most.  84 
Philolaches  appears  in  a  gloomy  state  of  mind,  full  of  remorse,  and 
sings  a  long,  carefully  elaborated  song  in  four  stanzas  on  the  simile 
of  the  house.  The  first  stanza  states  the  theme  in  general  terms,  the 
second  elaborates  it,  describing  the  house  in  its  beauty,  in  its  neg- 
lected condition  and  in  its  ruin.  The  third  stanza  gives  the  general 
application  of  the  simile  and  in  the  fo^urth  the  personal  application  to 
himself  is  made.  He  confesses  his  guilt  and  laments  his  deplorable 
state,  showing  that  he  considers  love  the  cause  of  his  trouble  by  the 
words  (142)  continuo  pro  imbre  amor  advenit  in  cor  meum.  Trin.  223 
is  also  a  long  and  elaborate  song.  Lysiteles  reflects  on  the  evils  of 
Love  which  he  knows  from  his  own  experience  and  resolves  to  change 
his  manner  of  life.  Pers.  1  resembles  this  but  is  in  briefer  form. 
The  song  of  Lysidamus  Cas.  217  is  unique  in  showing  the  lover  in  a 
complacent  rather  than  in  a  gloomy  state  of  mind.  He  speaks  in 
general  terms  of  the  personal  charm  enhanced  by  Love  and  points 
with  satisfaction  to  himself  as  an  example,  qui  quom  amo  Casinam, 
magi'  niteOy  mundiliis  Munditiam  antideo  (225).^^ 

In  addition  to  these  reflective  monodies  which  are  more  or  less 
colored  by  the  emotion  of  the  singer  there  are  a  number  of  topical 
monodies  on  stereotyped,  recurring  general  themes  which  are,  on  the 
whole,  unemotional.  The  theme  of  the  good  and  bad  slave  appears 
most  frequently;  Men.  966;  Most.  858;  Pers.  7;  Pseud.  1103  and  also, 
incidentally,  in  Bac.  654-62  and  Rud.  920-24.  In  Men.  966,  Messenio, 
the  slave,  comes  in  reflecting  on  the  general  subject  of  the  duties  of  a 
good  slave  and  the  punishment  of  a  bad  slave.  It  is  through  fear 
of  this  punishment  that  he  obeys  his  master  (977).  He  explains 
that  he  has  carried  out  the  orders  of  his  master  about  the  baggage 
and  slaves  and  now  has  come  to  meet  him.     In  Most.  858  the  slave 

2>  Merc.  1  and  True.  22  (both  senarii)  deal  with  the  theme  of  love.  The  Mere. 
passage  serves  as  a  prologue,  giving  the  presuppositions  of  the  plot  and  is  mainly 
narrative,  and  the  reflection  on  love  comes  between  two  portions  of  narrative  11-13 
and  39-1 10.  The  True,  passage  follows  the  prologue  directly  and  after  a  long  general- 
izing reflection  22-76  also  gives  presuppositions  of  the  plot.  In  both  cases  the  subject 
of  love  is  treated  in  a  generalizing,  unemotional  way  and  the  brief  personal  applica- 
tion {True.  77)  only  serves  to  motivate  the  reflective  passage.  In  the  lack  of  strong, 
personal  emotion  these  monologues,  then,  differ  decidedly  from  the  monodies  on  the 
same  theme. 


40 


Studies  in  the  Songs  of  Plautine  Comedy 


Phaniscus,  a  puer  delicatus,  points,  with  the  same  satisfaction,  to 
himself  as  an  example  of  the  bonus  servus.  His  general  statement 
expressed  in  the  first  lines  Servi  qui  quom  culpa  carent,  tamen  malum 
metuont,  i  solent  esse  eris  utibiles.  nam  illi  qui  nil  metuont  postquam 
sunt  malum  meriti,  stulta  sibi  expetunt  consilia,  shows  a  decided 
parallelism  both  in  thought  and  language  to  Men.  983,  Servi  qui 
quom  culpa  carent  metuont,  i  solent  esse  eris  utibiles.  nam  illi  qui  nil 
metuont,  postquam  malum-\  promeritumque'\  ei  metuont.  He  points  to 
his  fellow  slaves  who  have  refused  to  accompany  him,  according  to 
their  master's  orders,  as  examples  of  the  bad  slave  and  to  himself  as 
an  example  of  the  good  slave,  in  having  obediently  come  to  meet  his 
master.  The  same  general  theme  is  carried  out  in  the  entering  monody 
of  the  slave  Harpax  {Pseud.  1103).  The  idea  that  a  slave  should  fear 
and  obey  his  master  as  much  in  his  absence  as  in  his  presence  is 
found  both  here  (1113-15)  and  in  Men.  968-9.  After  giving  himself 
as  an  example  of  the  good  slave,  he  explains  why  he  has  come.  Pers. 
7  is  shorter  than  the  other  monodies  on  this  topic.  The  same  idea  of 
the  good  slave  pleasing  his  master  present  or  absent  is  here,  but 
instead  of  pointing  to  himself  as  a  good  slave,  the  speaker  says 
neque  satV  sum  ero  ex  sententia  and  likens  himself  to  a  sore  eye  which 
his  master  cannot  let  alone.^^ 

The  monody  of  Men.  753  treats  the  theme  of  old  age.  The 
senex  comes  in  complaining  of  the  hardships  of  old  age,  which  not 
only  deprives  him  of  strength  but  brings  other  attendant  evils 
(753-60).  After  this  emotional  prelude,  he  turns  to  reflection  on  the 
probable  cause  of  his  daughter's  summons,  concluding  that  she  must 
have  had  some  trouble  with  her  husband.     He  goes  on  to  the  general 

«  The  only  real  parallel  in  monologue  form  to  these  monodies  on  the  good  and  bad 
slave  is  the  entrance  monologue  (in  recitative)  of  the  entering  slave  Aul.  587.  He 
also  points  to  himself  as  an  example  of  the  good  slave  in  the  line  hoc  est  servi  /acinus 
Jrugi  facere  quod  ego  persequor  (587).  The  language  of  589  nam  qui  ero  ex  sententia 
servire  servos  postulat  resembles  closely  Pcrs.  10  ego  neque  lubenter  servio  neque  satis 
sum  ero  ex  sententia.  After  his  general  reflections  on  the  duty  of  a  slave  to  help  his 
master  in  all  his  difficulties,  he  explains  his  entrance  by  telling  of  the  errand  on  which 
his  master  has  sent  him.  The  two  exit  monologues  in  senarii,  Bac.  913  and  Rud.  1258, 
are  scarcely  comparable  since  they  are  both  spoken  by  masters,  not  slaves,  and  deal 
with  the  theme  briefly  and  incidentally.  In  Rud.  1258  the  generalization  consists  of 
only  one  line  iUuc  est  quod  nos  nequam  servis  ulimur.  In  Bac.  913-15  the  comparison 
of  the  slave  to  a  sore  eye  resembles  Pers.  11-12.  This  theme  of  the  good  and  bad  slave 
is  found  also  in  Euripides  although  he  does  not  enlarge  upon  the  theme  {Helen  726-33). 


Studies  in  the  Songs  of  Plautine  Comedy 


41 


thought  of  the  arrogance  of  dowered  wives  but  adds  that  the  husbands, 
too,  are  not  free  from  blame. 

The  theme  of  domestic  troubles  appears  also  in  Most.  690,  Men. 
110,  and  Cas.  144  (from  the  wife's  standpoint),  but  with  the  difference 
that  the  marital  infelicity  in  these  songs  is  the  singer's  own  and  for 
that  reason  there  is  a  certain  amount  of  personal  emotion  that  is 
lacking  in  the  generalizing  reflections  of  the  senex.  Simo  {Most.  690) 
comes  out  of  the  house  delighted  at  his  success  in  escaping  the  vigi- 
lance of  his  wife.  He  complains  of  the  evils  of  a  dowered  wife, 
addressing  the  audience  directly  in  expectation  of  sympathy.  Men- 
aechmus  {Men.  110)  coming  out  of  the  house  in  anger,  accuses  his 
wife  of  too  much  interest  in  his  affairs  and  threatens  to  indulge  in 
any  pleasures  that  he  likes.  He  also  addresses  the  audience  directly 
and  asks  for  the  thanks  of  husbands  for  his  service  to  their  common 
cause.  In  Cas.  144  the  wife  expresses  her  anger  against  her  husband 
and  her  purpose  to  punish  him  (See  p.  30).  These  songs,  however, 
differ  from  Most.  690  in  that  they  are  closely  connected  with  the 
situation  and  advance  the  plot,  while  Most.  690  is  entirely  irrelevant 
and  unessential.^^ 

This  dissatisfaction  with  affairs  may  be  extended  beyond  the 
domestic  circle.  In  Men.  571,  Menaechmus,  returning  from  the 
forum,  sings  a  monody  reflecting  on  the  general  evil  of  the  client 
system.  Everyone  wishes  to  have  as  many  clients  as  possible 
whether  good  or  bad  and  cares  more  for  the  amount  of  his  client's 
property  than  for  \i\?>  fides.     After  these  general  reflections,  he  brings 

»  This  theme  of  domestic  troubles  appears  also  in  monologue  form.  The  long 
harangue  of  Megadorus  (senarii)  Aul.  475  is  an  impersonal  proposal  for  public  reform. 
After  stating  his  plan  to  marry  a  girl  without  dowry,  he  goes  on  to  say  that  if  other 
men  did  the  same,  the  state  would  be  in  a  much  better  condition  and  the  men  would 
be  subject  to  less  expense.  He  concludes  with  a  long  tirade  on  the  extravagance  of 
women.  In  Merc.  817  (senarii)  the  ancilla,  Syra,  as  she  leaves  the  stage,  proposes, 
aroused  by  the  domestic  troubles  of  her  master  and  mistress,  that  there  should  be 
equality  before  the  law  in  such  matters  for  men  and  women.  In  addition  to  these 
general  discussions  of  the  subject  there  are  many  personal  allusions  which  show  what 
a  common  theme  domestic  infelicity  was  in  the  literary  cant  of  the  period;  Asin.  19-22, 
Merc.  700,  Trin.  42,  for  instance,  but  with  these  must  be  contrasted  the  devotion 
to  their  husbands  of  the  sisters  in  the  Stichus.  This  idea,  both  the  woman's  lament  on 
her  hard  lot  and  the  man's  complaint  in  regard  to  the  evils  of  women,  appears  also  in 
Euripides.  (See  Leo,  PI.  Forsch.^  115  ff.).  One  of  the  best  examples  of  the  tirade 
of  a  man  against  women  in  general  is  that  of  Hippolytus  {Hipp.  616  ff.)  and  of  the 
lament  of  a  woman,  that  of  Medea  {Med.  230  ff.).  Clytemnestra's  words  {Elect.  1035  ff.) 
may  be  compared  with  those  of  Syra  {Merc.  817  see  above). 


42 


Studies  in  the  Songs  of  Plautine  Comedy 


in  the  personal  application  (588)  and  explains  how  he  has  been  delayed 
by  a  client  in  spite  of  his  impatience  to  return  to  Erotium  and  to  the 

feast.^'* 

In  addition  to  these  topical  songs  which  are  irrelevant  in  theme 
and  unessential  in  material,  there  are  four  songs  in  the  Truculentus 
on  the  same  general  topic,  the  mercenary  relations  between  lovers 
and  meretrices,  which  throw  some  light  on  the  situation  and  provide 
atmosphere.     Three  of  these  songs  are  sung  by  Astaphium,  Phrone- 
sium's  ancilla,  95,  209,  711,  and  one  by  Cyamus,  Diniarchus'  slave 
(551).     In  the  first  monody  (95)  Astaphium,  saying  that  she  wiU 
stand  outside  as  a  guard  to  see  that  no  one  comes  out  with  more  than 
he  has  brought,  generalizes  on  the  thieving  tendency  of  lovers  but 
adds  that  the  meretrix  is  not  the  loser  in  the  end.     In  her  third 
monody  (711)  she  advises  her  mistress  to  make  the  most  of  her 
opportunities  and  again  takes  up  her  position  as  restitrix.     Her  second 
song  is  unique  in  that  after  a  dialogue  with  Diniarchus  and  his  exit 
she  turns  to  the  audience  and  begins  to  sing,  the  only  example  of  a 
link  monody  beginning  the  song  sequence.     Her  general  theme  is 
that  lovers  should  expect  to  be  favored  only  as  long  as  they  can  give 
substantial  gifts,  with  the  usual  personal  application  at  the  end.     The 
monody  of   Cyamus   (551),  on  the  other  hand,  tells  how  Diniar- 
chus is  ruining  himself  financially  and  likens  the  greed  of  a  meretrix 
to  the  sea.     The  song  of  the  meretrix,  Erotium  {Men.  351),  shows 
briefly   the  same   mercenary  characteristic  in  her  statement  that 
munditia  is  a  source  of  gain  for  a  meretrix.^     The  monody  of  the 
leno,  Ballio  {Pseud.  133),  addressed  to  the  members  of  his  household, 
carries  out  the  same  idea  in  the  commands  that  he  gives  to  the 
meretrices.^ 

M  Criticism  of  existing  public  abuses  appears  also  in  monologue  form.  The 
speech  of  the  parasite  Pets.  65  fl.  includes  an  attack  on  the  evils  of  informing  and  a 
suggested  remedy,  ending  with  the  lines  (75-6)  sed  sumne  ego  stiilius  qui  rem  euro 
puhlicam  ubi  sint  magistratus  quos  curare  o  par  teat.  The  second  {Men.  459),  also  m 
the  mouth  of  a  parasite,  is  more  humorous  in  tone  in  suggesting  that  only  those  who 
have  no  dinner  engagement  eos  oportct  conlioni  dare  operam  atque  comitieis.  In  Trin. 
220  a  suggestion  is  made  to  do  away  with  gossiping  publico  fiat  bono.  Suggested  reform 
of  social  evils  appears  also  in  Euripides  {Phoen.  1015,  and  Andr.  693,  for  instance.  See 
LeoP/.  F<7r5cA.M16fF.).  . 

^  But  351-3  may  be  compared  with  Pers.  757  ff.  They  both  give  directions  for 
the  preparations  of  the  feast.  Cf.  357  ff.  with  Pseud.  908  fif.;  in  both  the  delay  of 
someone  expected  is  mentioned. 

«  The  topic  of  the  meretrix  appears  elsewhere  in  comedy  but  not  in  monologue. 
Her  insatiate  nature  is  brought  out  in  the  dialogue  between  the  aduhscens  and  Una 


Studies  in  the  Songs  of  Plautine  Comedy 


43 


A  small  group  of  monodies,  short  and  unimportant  and  miscellane- 
ous in  subject-matter,  remains  to  be  discussed.    The  preference  for 
song  rather  than  monologue  in  these  cases  results,  evidently,  from  the 
conventions  of  entrance  technique.     Since  the  succession  of  monody, 
monody  is  preferred  to  that  of  monody,  monologue,  the  second  solo 
part,  whatever  its  content,  is  ordinarily  a  monody  if  it  follows  a 
monody  (See  p.  15).     So  after  Pseudolus'  song  of  triumph,  Harpax, 
entering,   sings  a  brief  monody  telling  his    errand    {Pseud.  594). 
Euclio's  monody  lamenting  the  loss  of  his  gold  {Aul.  713)  is  followed 
by  the  short  monody  of  Lyconides  who  thinks  that  Euclio  has  dis- 
covered his  daughter's  secret  (727).     After  the  entering  monody  of 
Messenio  on  the  good  and  bad  slave,  comes  the  short  song  of  the 
senex,  giving  directions  to  the  slaves  {Men.  990).     In  Pers.  272  after 
Sagaristio's  song  of  thanksgiving,  Paegnium  enters,  motivating  his 
entrance  with  one  line.     In  Cas.   165  after  Cleustrata's  emotional 
monody,   Myrrhina's  address   to  her  slaves  is  in  song  form.     An 
entrance  duet  is  followed  by  an  entrance  monody  rather  than  an 
entrance   monologue.       The   only   other  monody  affected  by  this 
technique  is  Epid.  337,  an  address  to  some  one  in  the  house  which 
changes  to  recitative  at  341   when  it   becomes  a  real  monologue. 
Similarly,  a  duet  is  followed  by  a  link  monody  {Aid.  445;  Cure.  147; 

Epid.  SI). 

In  considering  the  content  of  duets,  a  distinction  may  be  made 
between  the  duets  that  are  preceded  by  a  monody  and  those  that 
themselves  begin  the  song  sequence.  A  preference  for  a  succession 
of  monody,  duet  over  that  of  monody,  dialogue  is  evident.  There  are 
32  cases  in  which  an  entrance  monody  is  followed  directly  by  a  duet 
(see  I  A;  B,  1 ;  III,  B,  1  on  pp.  17f.,  24),  and  28  cases  when  it  is  followed 
directly' by  a  dialogue.^'  These  duets  following  entrance  monodies 
may  be  divided  into  those  in  which  the  song  fuses  with  the  following 
dialogue,  and  those  in  which  the  duet  is  a  unit  in  itself  ending  with  a 
break  in' the  situation.  Ordinarily  the  duet  is  but  a  brief  and  un- 
important lyrical  prelude  to  the  ensuing  dialogue,  and  when  the  singers 


{Asin.  153  ff.).  In  Cist.  21  ff.,  trio  and  dial,  the  lena  talks  to  the  meretrices  of  the 
difficulties  of  their  position.  In  Most.  157,  the  ancilla  advises  the  young  meretrix  as  to 
the  proper  method  of  procedure  (recit.). 

"  Not  including  Cist.  203  since  the  text  is  uncertain.  Asin.  127;  Epid.  181;  337; 
Trin.  1115  change  to  recitative  before  the  dialogue  begins.  See  p.  18, 1,  B,  1,  b;  p.  23, 
III,  A. 


44 


Studies  in  the  Songs  of  Plautine  Comedy 


come  to   a  serious  discussion  of  an   important   matter,    the   meter 
changes  to  recitative. 

In  Amph.  1076-85  Bromia  after  her  monody  sees  Amphitruo 
and  addresses  him,  the  meter  changing  to  recitative  when  she  begins 
her  account  of  what  has  happened.  In  Cas.  230-5 1  after  the  entrance 
monody  of  Lysidamus,  he  and  Cleustrata  sing  a  duet  of  twenty  lines 
in  which  she  reproaches  him  and  he  tries  to  conciliate  her.  Finally 
the  real  discussion  is  commenced  by  Lysidamus'  words  sed  quid  ais? 
and  the  song  changes  to  dialogue.  In  Epid.  533-46  Philippa,  after 
her  entrance  monody,  sees  Periphanes  and  the  two  recognize  each 
other  in  a  short  duet  which  changes  to  recitative  as  Periphanes  decides 
to  address  her  Compellabo  547.  In  Most.  717-47  the  duet  between 
Simo  and  Tranio  after  the  former's  entering  monody  consists  of  mere 
jesting  and  raillery,  changing  tosenarii  when  Tranio  states  his  errand 
nunc  hoc  quod  ad  U  nosier  me  misit  senex.  The  long  monody  of 
Ballio  addressing  his  slaves  (Pseud.  133)  is  followed  by  a  trio  with 
Calidorus  and  Pseudolus,  consisting  of  rough  raillery  and  abuse. 
When  Pseudolus  brings  matters  to  an  issue  by  the  words />o/i«w/  .... 

Ballio,  hue  cum  lucro  respicias  (264),  the  meter  changes  to  recitative. 
In  Pseud.  913-50  the  duet  between  Pseudolus  and  Simio  following 
Pseudolus'  brief  monody  is  unessential  in  material  and  jocular  in 
tone,  changing  to  dialogue  when  Simio  says  sed  propera  mi  monstrare 
uhi   sit  lenonis   aedium.     The   words   of   recognition   and   greeting 
exchanged  by  Trachalio  and  Palaestra  after  her  entering  monody  are 
in  song  which  changes  to  septenarii  when  she  begins  to  tell  him  of 
her  trouble  {Rud.  676-81).    In  Rud.  938-62,  after  his  song  prayer, 
Gripus  sings  a  duet  with  Trachalio  that  consists  largely  of  an  exchange 
of  jesting  remarks.     With  Gripus'  question  quid  factumst  Trachalio 
begins   his   direct   statement  of   the  case   and   the   meter  changes. 
After  Astaphium's  entering  monody  {True.  95),  the  recognition  and 
greetings  are  expressed  in  a  duet  between  Astaphium  and  Diniarchus, 
which  changes  to  dialogue  with  Diniarchus'  words,  sed  quid  ais? 
(129).     Occasionally  the  change  from  duet  to  dialogue  comes  before 
the  change  from  the  unessential,  preliminary  remarks  to  the  serious 
discussion.     In  the  two  servus  currens  scenes,  the  duet  {Merc.  131-40; 
Stich.  315-31)  changes  to  dialogue  before  the  end  of  the  unusually 
prolonged  exchange  of  abuse  and  jesting  and  the  message  is  not 
definitely  given  until  some  lines  later  {Merc.  180-81;  Stich.  364-71). 
In  the  Persa  too  the  change  from  the  short  preliminary  duet  (272- 
79)  is  not  marked  by  a  change  in  tone;  for  the  abuse  and  jesting 


Studies  in  the  Songs  of  Plautine  Comedy 


45 


continue  in  the  dialogue.     Occasionally  important  facts  are  brought 
out  in  the  song  itself.     In  True.  719-29  the  fact  that  Strabax  is 
now  the  favored  lover  is  given  in  the  song  (726-27).     In  Pers.  13-42 
Toxilus  tells  Sagaristio  of  his  need  of  money  in  the  duet,  and  the 
change  to  recitative  is  not  accompanied  by  a  corresponding  change  in 
tone.     In  a  few  other  songs  the  change  from  duet  to  recitative  is 
not  marked  by  any  evident  difference  of  thought  or  feeling.     In 
Men.  995-1008  the  entering  monodies  are  followed  by  a  duet  between 
Messenio  and  Menaechmus  in  which  Menaechmus  calls  for  help 
and  Messenio  responds.     The  scene  changes  to  recitative  at  the  point 
where  Messenio  gives  actual  aid.     In  Trin.  276-300  Lysiteles'  long 
entrance  monody  is  followed  by  a  duet  which  consists,  for  the  most 
part,  in  a  long  harangue  by  the  father  at  the  close  of  which  the 
meter  changes.     The  short  aside   duet  between  Ballio  and  Simo, 
Pseud.  1124-33,  after  Harpax'  monody,  changes  to  recitative  three 
lines  before  Harpax  is  addressed.     The  love-making  scene  follow- 
ing the  song  to  the  bride  Cas.  825-46  changes  to  senarii  abruptly  in 
the  middle.     In  general,  however,  the  duets  that  are  not  separated 
by  any  break  in  situation  from  the  dialogue  which  follows  are  mere 
unessential  preludes  to  the  dialogue,  and  the  change  of  meter  marks  a 
very  definite  change  of  thought. 

Duets  ending  with  a  break  in  situation  rather  than  a  fusion 
with  the  succeeding  dialogue  often  merely  carry  out  the  emotional 
tone  of  the  preceding  monody.  After  his  entering  monody  {Bac. 
612-24)  lamenting  his  action,  Mnesilochus  sings  a  duet  with  Pis- 
toclerus  in  which  he  continues  his  lament  and  Pistoclerus  tries  to 
console  him.  This  is  followed  by  an  entrance  monody  of  Chrysalus. 
Similarly,  in  Persa  763-76  the  trio  following  the  monody  of  Toxilus 
carries  out  the  tone  of  rejoicing  in  portraying  the  hilarity  of  the 
feast.  It  is  also  followed  by  an  entrance  monody  sung  by  Dordalus 
who  then  joins  the  preceding  singers  in  a  quartette.  The  same 
atmosphere  of  hilarity  and  dissipation  is  also  portrayed  in  the  duet 
of  Callidamates  and  Delphium  which  follows  the  short  entering 
monody  of  Callidamates  {Most.  320).  The  trio  and  quartette 
which  follow  carry  on  the  same  emotion.  The  song  sequence  ends 
at  the  entrance  of  Tranio.  The  duet  {Cas.  165-216)  also  carries 
out  the  tone  of  the  preceding  monody  in  which  Cleustrata  complains 
angrily  of  her  husband.  In  the  duet  with  her  friend,  Myrrhina,  she 
pours  forth  her  troubles  still  further  while  Myrrhina  tries  to  soothe 
her.     In  the  Aulularia  after  Congrio's  entrance  monody  calling  for 


46 


Sttidies  in  the  Songs  of  Plautine  Comedy 


help  comes  a  duet  between  Congrio  and  Euclio  in  which  Euclio,  in 
great  excitement,  questions  Congrio  (415-44).  The  duet  is  followed 
by  a  short  link  monody  sung  by  Congrio  as  Euclio  leaves  the  stage. 
In  Cure.  110-46  the  trio  following  the  lena's  entrance  monody 
contains  much  unessential  material  for  its  comic  effect  but  ends  with 
her  promise  to  bring  Phaedromus  his  sweetheart.  Her  absence  is 
covered  by  a  duet  and  a  link  monody,  the  serenade  to  the  doors. 
The  song  ends  with  the  return  of  the  lena.  In  Bac.  the  duet  1105-18 
following  the  entrance  monodies  carries  out  the  note  of  anxiety  and 
discomfiture  as  the  old  men  tell  each  other  their  troubles.  At 
the  entrance  of  the  sisters  the  duet  changes  to  quartette.  In  Rud. 
229-58  the  duet  following  the  entrance  monodies  of  Palaestra  and 
Ampelisca  consists  of  an  exchange  of  greeting  and  a  consideration  of 
plans  in  the  same  emotional  tone  as  that  of  the  preceding  monodies. 
It  is  followed  at  the  entrance  of  the  priestess  by  a  trio  in  which  the 
girls  ask  her  for  help.     The  song  sequence  ends  with  their  exit  from 

the  stage. 

In  addition  to  the  songs  which  hardly  do  more  than  carry  out  the 
emotional  tone  of   the  preceding  monody,   there  are  a  few  duets 
following  entrance  monodies,  which  are  of  some  organic  importance 
for  the  carrying  out  of  the  plot.     The  two  duets  Bac.  979-96  and 
Pers.  482-500  are  both  preceded  by  an  entering  monody  and  end 
with  an  abrupt  change  to  senarii  at  the  reading  of  a  letter.     In  the 
Persa,  Toxilus,  carrying  out  the  trick  that  he  has  planned,   tells 
Dordalus  of  the  letter  that  he  has  received  from  his  master.     In 
the  Bacchides,  Chyrsalus  reports  to  Nicobolus  on  the  result  of  his 
errand  and  brings  him  a  letter  from  his  son.     The  duet,  changing  to 
trio  {True.  577-630),  that  follows  Cyamus'  entering  monody  is  also 
not   unessential   to   the   action   of   the   play.     Cyamus   delivers   to 
Phronesium  his  master's  gifts  and  when  the  soldier,  entering,  becomes 
angry  and  threatens  him,  departs  at  once.     With  his  exit  the  song 
ends.     The  duet  sung  by  Simo  and  Pseudolus  (Psetid.   1285-1334) 
after  the  latter's  long  monody  is  unnecessarily  long  and  padded  for 
comic  effect  but  not  unessential  since  it  ends  with  their  reconciliation 
and  return   to   the   banquet.     In  Cas.   892-936   the   trio  following 
Olympio's   entrance   monody   is   narrative   of   off-stage   action   and 
carries  on  the  emotion  of  the  monody.     It  is  followed  by  the  entrance 
monody   of  Lysidamus.     The   long   duet   sung   by   Pardalisca   and 
Lysidamus  (Cas.  630-719)  after  her  brief  monody  is  distinctly  emo- 
tional in  tone  and  of  organic  importance.      In  answer  to  his  ques- 


Studies  in  the  Songs  of  Plautine  Comedy 


47 


tions  she  tells  him  that  Casina  is  mad  and  determined  to  kill  him 
and  Olympio.  The  duet  ends  at  the  exit  of  Pardalisca  and  at  the 
entrance  of  new  characters  a  trio  begins  which  is  quite  unessential  in 
material  and  humorous  in  tone.  These  duets,  then,  which  end 
with  a  break  in  situation  are,  as  a  whole,  of  somewhat  greater  organic 
importance  than  those  that  are  fused  with  the  following  dialogue 
and  instead  of  being  mainly  comic  in  their  appeal,  they  ordinarily 
carry  out  the  emotion  expressed  in  the  preceding  monody. 

There  is  a  comparatively  small  group  of  songs  in  which   the 
duet  is  not  preceded  by  a  monody  but  itself  begins  the  song  sequence. 
These  are  found,  as  a  rule,  either  at  or  near  the  beginning  of  the  play 
(Amph.  551,  Cas.  855,  Most.  783,  Poen.  1174  are  exceptions).     They 
differ  from  the  duets  which  follow  monodies  in  being,  on  the  whole, 
of  greater  organic  importance  and  quite  unemotional.     In  accordance 
with  their  position  near  the  beginning  of  the  play  they  often  give 
presuppositions  of  the  plot,  explain  the  situation,  and  start  action. 
In  the  Stichus  the  play  begins  with  the  duet  of  two  sisters,  who 
express  their  anxiety  at  their  husbands'  long  absence  and  discuss 
their  father's  wish  that  they  marry  again.      In  the  Epidicus  the 
play  begins  with  the  duet  of  two  slaves,  which  both  gives  presup- 
positions of  the  plot  and  starts  action.     Thesprio  tells  Epidicus  of 
the  girl  whom  Stratippocles  has  brought  home  and  Epidicus  explains 
that,  according  to  his  master's  earlier  orders,  he  has  bought  the 
music  girl.     Epidicus  begins  to  plan  how  he  may  obtain  the  money 
necessary.    (Cf.  Pers.  13-52  p.  45.)     In  Aul.  120  the  duet  of  Eunomia 
and  Megadorus,  following  the  first  expository  scene,  starts  the  action 
through  the  advice  to  marry  that  Eunomia  gives  her  brother.     In 
Capt.  195  the  important  fact  of  the  change  of  roles  is  impressed  upon 
the  audience  by  Tyndarus'  words  urging  Philocrates  not  to  desert 
him.     Through  the  second  duet  of  the  Epidicus  (166)  the  audience 
learns  of  Periphanes'  desire  to  marry  the  woman  by  whom  he  has 
had  the  daughter  who  is  now,  as  he  thinks,  in  his  house.     In  Most. 
783,  another  rare  example  of  the  song   not  at   but  after   entrance, 
Tranio  reports  to  Theopropides  the  result  of  his  interview  with  Simo. 
Other  songs  portray  character  or  provide  atmosphere  rather  than 
advance  the  plot.  The  opening  trio  of  the  Cistellaria  contains  nothing 
essential  to  the  action.     The  song  consists  merely  of  an  exchange  of 
polite  remarks  and  a  long  speech  by  the  lena  on  the  position  of 
women  of  their  class  and  changes  to  dialogue  at  38;  the  story  of  the 
love-affair  is  not  begun  until  89.     The  content  of  the  duets  of  the 


48 


Studies  in  the  Songs  of  Flautine  Comedy 


Poenulus  is  equally  unessential  except  as  they  throw  light  on  the 
character  of  the  girls  (210,  1174).  The  first  deals  with  the  general 
theme  of  the  labor  involved  in  a  woman's  toilet  and  the  second 
describes  the  festival  that  they  have  just  seen.  The  third  duet  of  the 
Epidicus  (320-36)  adds  nothing  to  the  development  of  the  plot. 
Stratippocles  expresses  his  anxiety  and  reproaches  Chaeribulus  for 
not  helping  him  while  Chaeribulus  declares  his  inability  to  do  so. 
The  scene,  obviously  time-filling,  has  a  certain  emotional  coloring. 
With  this  may  be  compared  Cas.  855,  also  clearly  unessential  and 
time-filling.  The  women  enter  discussing  the  success  of  their  trick 
and  take  positions  so  as  to  intercept  the  victims  when  they  leave  the 
house.  Amph.  551-632  is  a  duet  between  Amphitruo  and  Sosia 
on  the  subject  of  the  mistaken  identities.  It  is  distinctly  comic  in 
effect  and  serves  to  relieve  the  seriousness  of  the  environing  scenes. 
The  last  scene  of  the  Stichus  is  in  lyric  measures  as  Sangarinus  and 
Stichus  dance  (769-75).  (Cf.  Pers.  763;  Most.  320;  Pseud.  1285 
for  other  convivial  songs.) 

To  sum  up,  then,  the  facts  observed  about  the  content  of  song; 
of  the  73  monodies,  2>3>  are  expressions  of  emotion  pure  and  simple,^* 
5  are  both  emotional  and  narrative,^^  9  are  both  emotional  and 
reflective.3^  47  monodies,  then,  or  approximately  two-thirds  are 
motivated  as  song  by  their  emotional  content.  Of  the  remaining  26, 
the  song  form  of  9,  varying  in  content,  evidently  results  from  the 
conventions  of  entrance  technique.^i  The  17  remaining  are  not 
motivated  as  song  by  their  emotional  content  nor  are  they  due  to 
the  conventions  of  entrance  technique.  Their  content  varies; 
Amph.  153  narrative;  Amph.  984  prologizing;  Pseud.  905  reflective; 
Cas.  815,  Pers.  168,  Pseud.  133,  address  to  silent  characters;  Men. 
351,  address  to  silent  character  and  reflective;  Men.  966,  Most.  858, 
Pseud.  1103,  Men.  753,  Most.  690,  Men.  571,  True.  95,  209,  551,  711, 
generalizing  on  topical  theme  with  personal  application.  These 
seventeen  songs  come  from  six  plays.^^ 

'^Amph.  633,  Asin.  127,  Aul.  406,  713,  Dae.  612,  640,  925,  1087,  Capt.  516,  768, 
781,  922,  Cas.  144,  621,  937,  Cist.  671,  Cure.  96,  Epid.  181,  526,  Men.  110,  Merc.  HI, 
Most.  313,  Pers.  470,  753,  777.  Psetid.  574,  1246,  Rtid.  185,  220,  664,  Stkh.  274,  Trin. 

820,  1115. 

'-«  Amph.  1053,  Capt.  498,  Cas.  875,  Pers.  251,  Rud.  906. 

^°Bae.  1076,  Cas.  217,  Cist.  20S,  Epid.  81,  Merc.  335,  Most.  84,  Pers.  1,  Trin.  223, 

True.  448. 

3»  Aul.  445,  727,  Cas.  165,  Cure.  147,  Epid.  337,  Men.  990,  Pers.  7,  272.  Pseud.  594. 

^^Amph.  153,  984,  Cas.  815,  Men.  351,  57  1,  753,  966,  Most.  690,  858,  Pers.  168, 
Psei4d.  133,905,  1103,  Tn^c.  95,  209,  551,  711. 


Studies  in  the  Songs  of  Plautine  Comedy 


49 


Songs  other  than  monodies  may  be  divided  into  those  1)  that 
are  preceded  by  an  entrance  monody  or  a  double  entrance  monody 
and   2)  those    that   themselves   begin    the    song    sequence.     Those 
preceded  by  a  monody  (32  in  number)  are,  in  general,  unemotional 
and  only  a  brief  and  unimportant  prelude   to   the  dialogue  that 
follows,  ordinarily  changing  from  song  to  recitative  at  the  beginning 
of  serious  conversation.     In  a  few  cases,  the  duet  carries  out  the 
emotion  of  the  preceding  monody  {Amph.  1076,  Aul.  415,  Bac.  62:), 
1105,  Cas.  170,  630,  892,  Epid.  533,  Pers.  763,  Rud.  229,  676).     Sev- 
eral consist  of  only  an  exchange  of  raillery  and  abuse  and  seem  designed 
for  comic  effect  (Cas.  229;  Merc.  131;  Most.   718,   885;  Pers.   273; 
Pseud.  230,  913;  Rud.  938;  Stich.  315;  True.  115,  719).     Only  a  few 
have  any  importance  for  the  organic  structure  of  the  play  {Bac.  979; 
Cas.  630;   892;  Pers.   13;  482;  Pseud.   1285).     There  are  fourteen 
duets  that  in  themselves  begin  the  song  sequence.     Of  these,  six 
have  an  organic  function  in  the  development  of  the  plot,  ordinarily 
in  giving  the  presuppositions  of  the  plot  or  starting  action  {Aul  120; 
Capt.  195,  Epid.  1;  166;  Most.  7S3;Stich.  1).    They  are,  on  the  whole, 

unemotional. 

To  conclude,  then,  a  greater  proportion  of  monodies  are  moti- 
vated as  song  by  their  emotional  content  than  of  duets.  Emotion 
finds  expression  more  easily  when  the  singer  is  alone  on  the  stage. 
The  song  form  of  duets,  in  the  case  of  two-thirds,  seems  to  result 
from  the  conventions  of  entrance  technique,  rather  than  from  the 
presence  or  absence  of  emotion;  i.e.,  the  succession  of  monody,  duet 
is  preferred  over  that  of  monody,  dialogue. 

Excursus  I.  Narr.ative  and  Emotional  Solo  Parts 
Narration  of  previous  off-stage  action  or  of  future  action  essential 
to  the  plot  is  given  ordinarily  in  monologue  rather  than  in  monody. 
Leo  {Monolog  71-72)  classifies  the  monologues,  including  monodies, 
of  the  Persa  and  the  plays  of  Philemon,  Diphilus  and  Menander  as 
to  whether  they  are  emotional,  reflective,  generalizing,  or  narrative. 
The  results  as  far  as  the  entrance  monologues  are  concerned  are 
these  (Link  and  exit  monologues  may  be  ignored  since  song  was 
used  only  for  entrance.)  He  lists  as  emotional  twenty-three  mono- 
dies and  seven  monologues.  Of  these  entrance  monologues  Bac. 
842  is  too  brief  to  be  of  any  real  importance  (two  lines)  and  Most. 
348  is  not  only  emotional  but  also  a  narrative  of  essential  action. 
The  remaining  five  come  from   two  plays,   two  from   the  Rudens 


50 


Studies  in  the  Songs  of  Plautine  Comedy 


Studies  in  the  Songs  of  Plautine  Comedy 


51 


(615  and  1191)  and  three  from  the  Mercator  (588,  830,  842).  The 
monologue  form  of  Rud.  615  may  be  explained  as  resulting  from 
the  conventions  of  entrance  technique;  it  balances  the  preceding 
entrance  monologue.  Rudens  1191  is  essentially  a  prologizing 
narrative.  As  to  the  monologues  from  the  Mercator,  842  may  also  be 
explained  as  the  result  of  conventional  entrance  technique  (see  p. 
16).  The  other  monologues  of  the  Mercator,  588  and  830,  are  clear 
examples  of  emotional  monologues,  but  it  may  be  observed  that  the 
Mercator  has  little  song  and  that  only  two  of  the  twelve  entrance 
solo  parts  are  monodies.     The  conditions  in  that  play,  then,  seem 

peculiar  to  the  play. 

On  the  other  hand,  Leo  lists  as  narrative  four  monodies  and  eleven 
monologues.  The  strong  emotional  coloring  of  the  monodies  has 
already  been  discussed  {Cas.  875,  Pers.  251, 470,  Rud.  906,  see  pp.  34  f.) ; 
a  fact  recognized  by  Leo  since  he  also  classifies  as  emotional  all  of 
these  narrative  monodies  but  none  of  the  narrative  monologues. 
Leo's  classification  is  interesting  since,  without  any  attempt  on  his 
part  to  differentiate  monologues  and  monodies,  his  results  show  the 
preponderance  of  emotion  in  monodies  and  of  narration  in  mono- 
logues. 

But  since  he  treats  only  about  half  the  plays  in  this  way,  it  is 

necessary  to  extend  his  differentiation  of  emotional  or  narrative  solo 

parts  to  the  monologues  and  monodies  in  all  the  plays  before  any 

conclusions  can  be  drawn.     There  are  fourteen  entrance  monologues 

in  Plautus  that  may  be  considered  emotional.     The  monologue  form 

of  six  of  these  may  be  explained  through  the  conventions  of  entrance 

technique  {Amph.  882,  Asin.  267,  Merc.  700,  842,  Rud.  615,  Stich. 

655,  see  p.  15).     The  monologue  form  of  three  may  be  explained  by 

the  fact  that  they  are  also  narratives  of  essential  action  {Most.  348, 

Rud.  1191,  1281);  one  is  very  brief  {Bac.  842);  one  occurs  in  the  last 

act  of  the  play,  which  is  regularly  in  trochaic  septenarii  {Aul.  808). 

There  remain  three  emotional  monologues  in  which  the  monologue 

form  admits  of  no  such  explanation,  two  from  the  Mercator,  588, 

830  (see  above),  and  one  from  the  Truculentus,  699,  a  play  which  is 

unique  in  its  use  of  song  (see  p.  95).     In  contrast   with  the   small 

number  of  emotional  monologues  there  are  forty-seven  emotional 

monodies,  of  which  thirty-three  are  purely  and  simply  the  portrayal  of 

emotion.^'     As  for  narrative  monodies,  there  are  five  which  narrate 

33  Five  others  combine  narration  and  emotion;  nine  are  reflective  and  emotional. 
Sec  pp.  38  f. 


action  essential  to  the  plot  and  not  known  to  the  audience,  ail  of 
which  are  emotional  in  setting  {Amph.  1053,  Capt.  498,  Cas.  875, 
Pers.  251,  Rud.  906).  Amph.  153  is  an  unemotional,  detailed  narra- 
tive of  action  which  has  no  really  essential  bearing  on  the  plot  since 
the  necessary  facts  have  already  been  given  in  the  prologue.  There 
are  twenty-five  entrance  monologues  which  narrate  in  some  detail 
action  essential  to  the  plot. 

At  certain  points  it  will  be  seen  that  these  figures  differ  from 
those  of  Leo.  Pers.  470  has  not  been  included  in  the  narrative 
monodies;  the  narrative  is  slight  and  easily  guessed  by  the  audience. 
Merc.  700  is  clearly  emotional  although  not  so  classified  by  Leo. 
Rud.  1281  is  also  emotional  in  its  first  lines.  Sudhaus'  statement, 
therefore,  ''Es  gibt  Dutzende  von  Monodien  in  stichischen  Versen" 
(i.  e.  in  recitative)  ''die  sich  in  Ton  und  Inhalt  von  lyrischen  Stucken 
in  nichts  unterscheiden"  {op.  cit.  p.  84)  seems  somewhat  exaggerated. 
As  examples,  he  cites  True.  699,  Merc.  830,  and  Aul.  608-23. 

Certain  conclusions  as  to  the  use  of  senarii  and  recitative  for  the 
expression  of  emotion  can  be  drawn  from  these  fourteen  emotional 
monologues.  Five  are  in  senarii  and  nine  in  recitative.  Of  the  five 
in  senarii,  four  continue  the  meter  of  the  preceding  lines  {Amph. 
882,  Bac.  842,  Merc.  700,  Stich.  655).  In  Rud.  1191  there  is  a  change 
from  the  preceding  recitative  to  senarii  to  be  explained,  probably, 
through  the  prologizing  force  of  the  monologue  as  a  whole.  Of  the 
nine  cases  of  recitative  in  emotional  monologue,  on  the  other  hand, 
four  involve  a  change  from  preceding  senarii  to  recitative  {Merc. 
588,  830,  Rud.  615,  True.  699).  The  conclusion  can  be  drawn,  then, 
that  the  dramatist  preferred  the  use  of  recitative  to  that  of  senarii 
for  the  expression  of  emotion. 


- 1 


V.     FUNCTION  OF  SONG 

In  studying  the  function  of  song  in  Roman  comedy  any  attempt 
to  classify  with  absolute  precision  different  songs  under  definite  and 
exclusive^  categories  must  be  avoided  since  any  given  song  may 
easily  serve  more  than  one  purpose.     Still  it  may  be  possible  to  dis- 
cover the  most  conspicuous  function  of  any  song  and  to  draw  certain 
conclusions  as  to  the  most  important  functions  of  song  in  general. 
The  history  of  choral  song  in  drama  points  to  the  limited  use  of  song 
for  strictly  organic  purposes  and  its  more  extended  use,  however 
closely  related  to  the  environing  scenes,  to  fill  time-intervals  for  the 
completion  of  off-stage  action  or  the  change  of  roles.     On  the  other 
hand,  songs  from  the  stage  in  Greek  drama,  monodies,  duets,  etc., 
sung  by  actors,  especially  in  Euripidean  tragedy,  are  naturally  more 
closely  connected  with  the  development  of  dramatic  action  even  if 
they  do  nothing  more  than  set  forth  an  emotional  disturbance.     It  is 
desirable,  then,  waiving  the  question  of  the  relation  of  comedy  and 
tragedy,  to  determine  whether  the  songs  of  Plautus  contribute  to  the 
development  of  the  action  or  whether  they  are  inorganic,  filling 
time-intervals  with  unessential  material  or  irrelevant  themes.     It  is 
possible  also  that  song  may  be  used  for  other  purposes,  to  vary 
delivery,  etc.     As  before  I  shall  constantly  compare  the  function 
of  song  with  that  of  monologue  and  dialogue. 

Among  the  functions  of  song  in  the  structure  of  the  play,  its  part 
in  the  preliminary  exposition  at  or  near  the  beginning  of  the  play  is 
prominent  in  a  few  cases.  Duets,  rather  than  monodies,^  are  occa- 
sionally used  to  set  forth  the  presuppositions  of  the  plot.  In  the 
opening  duet  of  the  Persa,  Toxilus  tells  his  friend  of  his  love-affair 
and  his  need  of  money.  In  the  Epidicus  also  the  presuppositions  of 
the  plot  are  disclosed  through  the  opening  duet  of  two  slaves.  In 
the  Stichus  the  two  sisters  set  forth  the  situation  through  their  open- 
ing duet.^ 

iThe  monody  of  Sosia  {Amph.  153)  narrates  previous  action  but  the  detailed 
account  of  the  battle  is  unessential  since  the  necessary  facts  have  already  been  given 
at  sufficient  length  in  the  prologue. 

2  The  plays  may  be  divided  into  those  in  which  the  exposition  is  given  in  monologue 
and  those  in  which  it  is  given  in  dialogue  (or  duet;  see  above).  For  a  full  discussion  see 
Leo  PI.  Forsch^  p.  188  ff.  The  expository  narrative  is  given  in  prologue  form  in  the 
A7nph.,  Aid.,  Capt.,  Cas.,  Cist,  (intercalated),  Men.,  Merc,  Miles  (intercalated), 
Poen.,  Rud.     In  the  Tructdentus  the  main  exposition  is  given  in  the  prologizing  mono- 


Studies  in  the  Songs  of  Plautine  Comedy 


53 


Duets  near  the  beginning  of  the  play  sometimes  initiate  action. 
The  action  of  the  Aulularia  is  started  by  the  duet  (120)  in  which 
Eunomia  urges  her  brother  to  marry.  The  duet  of  Tyndarus  and 
Philocrates  {Capt.  195)  serves  to  impress  the  audience  with  the 
important  fact  of  the  change  of  roles  and  starts  the  action.  Similarly 
the  second  duet  of  the  Epidicus  (166)  sets  the  stage  for  the  ensuing 

action. 

Both  monodies  and  duets  are  occasionally  used  to  advance  the 
plot  by  the  narration  of  essential  off-stage  action.  In  Pets.  251 
Sagaristio  tells  in  his  monody  how  he  has  succeeded  in  getting  the 
money  needed  by  Toxilus,  a  fact  in  itself  important  although  the 
securing  of  the  money  does  not  prevent  the  earlier  plans  of  intrigue. 
The  monody  of  Hegio  {Capt.  498)  is  of  primary  importance  for  the 
development  of  the  plot  since  the  fact  that  he  has  found  a  captive 
who  knows  Philocrates  leads  directly  to  the  discovery  of  the  intrigue. 
In  the  Cas.  the  narration  of  off-stage  action  is  given  in  duet  (630). 
Pardalisca  in  answer  to  Lysidamus'  questions  tells  of  Casina*s 
madness.  Although  her  story  is  a  mere  invention  to  frighten  him 
it  is  of  organic  importance  as  it  is  one  of  several  tricks  tried  by  Cleus- 
trata.     The  duets  of  Bac.  979  and  Pers.  482  are  alike  in  that  the 

logue  of  Diniarchus,  which  follows  the  prologue  proper.    In  the  Cistellaria  the  prologue 
foUows  the  monologue  of  the  Una  (120)  but  gives  the  same  general  facts  in  greater  de- 
tail.    In  these  plays  any  narrative  of  previous  action  found  in  other  monologues  (as  m 
Capt.  92-101,  Rud.  83)  is  in  var>ang  degrees  a  repetition  of  that  already  given  in  the  pro- 
logue and  is  relativelv  unimportant.     In  plays  not  beginning  with  a  prologue,  an  mitial 
monologue  occasionally  helps  in  expounding  the  situation.     As  the  begmnmg  of  the 
Bacchides  is  lost,  the  method  of  exposition  cannot  be  definitely  determmed  but  the 
monologue  of  Chr>'salus  ( 1 70)  gives  the  necessary  facts,  which  are  substantially  repeated 
in  Mnesilochus'  entrance  monologue  (385).     In  the  Mostellaria,  after  the  expository 
dialogue,  Grumio's  exit  monologue  adds  the  fact  that  the  father  has  been  absent  for 
three  years  (79)  and  Theopropides'  entrance  monologue  gives  the  additional  fact  that 
he  has  been  in  Egypt  (440).    In  five  plays  the  exposition  is  given  in  dialogue  form;  m 
the  Asin.,  Cure,  and  Psetid.  the  dialogue  is  between  a  master  and  slave,  in  the  Most 
between  two  slaves,  and  in  the  Trin.  between  two  friends.   The  Trinummus  is  unusual 
in  that  the  expository  dialogue  is  preceded  by  a  prologue  in  dialogue  form  and  a  short, 
moralizing  entrance  monologue.     OccasionaUy  as  in  Cas.  and  Poen.  the  exposition  is 
elaborated  in  a  dialogue  scene  after  the  prologue.     To  sum  up,  then,  in  three  plays  the 
main  exposition  is  given  in  duet,  in  five,  in  dialogue  and  in  eleven,  in  prologue  mono- 
logue (including  the  monologue  of  Diniarchus  in  the  True.).     The  Bacchides  cannot  be 
counted  as  the  beginning  of  the  play  is  lost.     It  is  noteworthy  that  monody  alone  is  not 
used  for  exposition  at  the  beginning  of  the  play.     The  reason  is  probably  that  the  use  ot 
prologue  speeches  in  iambic  trimeter  had  become  so  stereotyped  that  any  solo  part  with 
this  function  falls  naturally  into  iambic  senarii. 


54 


Studies  in  the  Songs  of  Plautine  Comedy 


Studies  in  the  Songs  of  Plautine  Comedy 


55 


intriguer  informs  the  victim  of  the  intrigue  of  a  certain  alleged  fact 
and  gives  a  letter  as  proof,  in  this  way  bringing  about  the  deception 
of  the  victim  and  the  catastrophe  of  the  play.  These  duets  are  alike 
in  being  preceded  by  a  monody  while  the  duets  concerned  with  the 
exposition  of  the  plot  are  not  so  introduced  with  the  exception  of 
Pers.  13.3 

Song  is  also  used  to  advance  the  solution  of  the  plot.  The 
monody  of  Gripus  (Rud.  906)  prepares  directly  for  the  denouement; 
the  discovery  of  the  box  containing  the  crepundia  makes  possible  the 
recognition  scene.  If  the  denouement  takes  place  ofif  the  stage  it 
may  be  described  in  monody.  In  Amph.  1053  Bromia  tells  of  the 
birth  of  Hercules  and  in  Cas.  875  Olympio  tells  how  the  trick  was 
discovered.  The  narrative  is  in  neither  case  completed  in  the  mon- 
ody, but  is  carried  on  by  the  dialogue  in  the  Amphitruo  and  by 
duet  in  the  Casina.  A  duet  at  the  end  of  the  play  ordinarily  adds 
little,  since  the  action  is  already  completed,  but  in  the  Pseudolus 
(1285)  it  brings  about  the  reconciliation  of  Pseudolus  and  Simo  and 
in  the  Bacchides  (1120)  (quartette)  of  the  old  men  and  the  sisters.^ 

There  are,  then,  relatively  few  songs  which  have  a  really  impor- 
tant part  either  in  the  preliminary  exposition,  the  advancement  of  the 
plot,  or  the  solution.  On  the  other  hand,  there  is  a  large  group  of 
songs  which,  as  their  primary  function,  bring  the  singer  on  the  stage 
for  the  action  which  is  to  follow.  These  monodies  frequently  portray 
atmosphere  or  reveal  character  but  their  content  is  relatively  unim- 
portant in  comparison  with  the  duet  or  dialogue  to  which  the  monody 
serves  as  prelude.     The  fact  that  a  character  enters  speaking  rather 

3  Monologue  is  used  frequently  throughout  the  play  for  the  narration  of  off-stage 
action  but  the  narrative  is  frequently  merely  a  means  of  accounting  for  the  absence 
of  the  speaker  and  does  not  advance  the  action,  as  Merc.  692,  or  narrates  purely 
inorganic  narrative  for  its  comic  effect,  as  Capt.  461,  909;  Eunuchus  232.  Narrative 
monologues  are  frequently  used  to  explain  why  the  speaker  has  come:  Bac.  573,  Most. 
1122,  Poen.  950,  True.  645.  Essential  facts  for  the  development  of  the  plot  are  fre- 
quently given  in  monologues.  In  Bac.  530  Mnesilochus  says  that  he  has  returned  the 
money  to  his  father;  the  monologue  of  Tranio,  Most.  348,  informs  the  audience  of  the 
arrival  of  Theopropides.  Dialogue  is  also  used  frequently  for  the  narration  of  off-stage 
action.  The  fact  that  the  father  has  seen  the  girl  is  given  in  dialogue  {Merc.  180); 
Curculio  tells  his  stor>'  in  answer  to  questions  {Cure.  327).  The  main  function  of  the 
dialogue,  however,  is  to  advance  the  action  on  the  stage. 

*  The  solution  is  ordinarily  given  in  recitative  dialogue.  Since  the  denouement 
usually  takes  place  on  the  stage,  there  is  ordinarily  no  occasion  for  narrating  off-stage 
action  in  monologue.  Labrax  {Rtid.  1281)  tells  how  he  lost  Palaestra  but  this  follows 
the  recognition  scene,  the  real  denouement. 


than  silent  is  due  largely  to  the  racial  fondness  for  monologue. 
The  preference  for  song  over  monologue  proper  is  due  ordinarily  to 
the  emotional  content,  occasionally  to  the  conventions  of  entrance 
technique,  sometimes,  perhaps,  to  a  desire  to  vary  the  method  of 
delivery.  Whether  the  monody  adds  to  the  better  understanding  of 
the  situation  through  the  portrayal  of  atmosphere  or  character  or 
whether  it  really  retards  the  action  by  the  introduction  of  extraneous 
material  depends  largely  on  the  part  played  by  the  singer  in  the  action 
of  the  play.  If  he  is  an  important  character,  closely  bound  up  with 
the  intrigue,  it  may  easily  and  naturally  enough  throw  light  on  the 
situation.  If  he  is  a  minor  character  brought  on  the  stage  for  a 
temporary  purpose,  not  yet  acquainted  with  the  intrigue,  his  song 
must  of  necessity  be  irrelevant  in  theme. 

Monodies  of  this  sort,  i.e.,  bringing  on  the  stage  characters  needed 
for  the  dialogue  or  duet  which  follows,  if  they  occur  in  the  early 
part  of  the  play  before  the  action  really  begins,  ordinarily  portray  the 
atmosphere  of  the  play  as  a  whole,  and  throw  considerable  light  upon 
the  general  situation.      The  sentimental  theme  of  the  play  is  fre- 
quently shown  by  the  monody  of  the  young  lover  which  usually 
comes   directly  after   the  first  expository  scene.     This  monody  is 
always  on  the  general  topic  of  love  but  varies  in  the  degree  and  kind 
of  personal  emotion  portrayed.     The  song  of  the  adulescens  {A sin. 
127),  an  angry  tirade  addressed  to  those  in  the  house,  complaining 
of  his  ill-treatment,  gives  the  emotional  tone  of  the  dialogue  that 
follows  when  the  lena  comes  on  the  stage.      From  Cist.  203  we  learn 
that  Alcesimarchus  is  suffering  from  the  cruelties  of  Love  and  in 
particular  from  the  enforced  separation  from  his  loved  one.     Though 
the  text  that  follows  is  defective,  it  is  reasonable  to  suppose  that  this 
monody  also  leads  up  to  his  dialogue  with  the  slave.     The  monody  of 
Most.  84  expresses  Philolaches'  remorse  at  his  submission  to  love 
and  forms  a  part  of  the  unusually  long  and  elaborate  series  of  scenes 
protraying  atmosphere.     Though  the  action  does  not  really  begin 
until  348,  it  is  with  this  action  in  view  that  Philolaches  is  brought  on 
the  stage.     In  Trin.  223,  the  monody  of  the  adulescens  expressing 
resentment  at  the  mercenary  demands  made  upon  a  lover  prepares  the 
way  for  the  duet-dialogue  which  follows.     The  monody  of  Pers.  1 
is  on  the  same  theme  as  Trin.  223  but  much  shorter,  and  together 
with  Pers.  7  merely  serves  to  introduce  an  essential  duet. 

The  song  of  the  senex,  Lysidamus,  {Cas.  217)  is  on  the  same  subject 
of  love,   differing,  however,  from  the  songs  of  the  adulescentes  in 


II 
» 


56 


Studies  in  the  Songs  of  PlauUne  Comedy 


expressing  the  joy  rather  than  the  sorrows  of  love.  This,  with  the 
preceding  monody  of  his  wife  {Cas.  144),  an  angry  complaint  at  the 
conduct  of  her  husband,  serves  as  an  emotional  prelude  to  the 
dialogue  with  which  the  real  action  of  the  play  begins.  In  a  siniilar 
angry  tirade,  Menaechmus  {Men.  110)  complains  of  his  wife's 
inquisitiveness.  In  the  light  this  monody  throws  upon  the  singer's 
domestic  affairs  and,  in  particular,  by  the  mention  of  the  theft  of  the 
palla,  it  adds  important  material  as  well  as  brings  the  necessary 
character  upon  the  stage.  The  monodies  of  Palaestra  and  Ampelisca 
(Rtid.  185,  220),  lamenting  their  sufferings  from  the  shipwreck, 
enhance  the  tragedy  of  the  situation  and  form  an  important  part  of 
the  unusually  long  and  elaborate  preliminary  exposition.  The 
monody  of  the  leno  {Pseud.  133)  provides  atmosphere  and  helps  to 
furnish  motive  for  the  intrigue.  To  a  less  degree,  the  monodies  of  the 
ancillae,  Sophoclidisca  {Pers.  168)  and  Astaphium  {True.  95)  throw 
light  upon  their  mistresses'  affairs.  The  monodies  of  the  servus 
currens  {Merc.  Ill ;  Stick.  274)  serve  to  bring  on  the  stage  the  charac- 
ter who  is,  by  his  announcement  of  important  news,  to  start  the  real 

action  of  the  play. 

In  addition  to  these  monodies  which,  occurring  in  the  preliminary 

exposition  of  the  play,  have  a  more  or  less  important  part  in  making 

clear  to  the  audience  the  opening  situation,  there  is  a  group  of  songs, 

fewer  in  number,  which  come  later  in  the  play  and  also  give  matter 

relevant  to  the  action.     The  monody  of  the  adulescens  {Merc.  335) 

resembles  the  other  monodies  of  the  adulescentes  in  being  on  the 

general  subject  of  love  but  differs  from  them  in  not  being  part  of  the 

preliminary  exposition  but  in  showing  the  effect  of  the  bad  news  just 

heard.     Mnesilochus  {Bac.  612),  entering,  sings  a  monody  full  of 

remorse  for  his  impulsive  act.     The  monody  of  Alcumena  {Amph. 

633),  who  enters  to  lament  her  husband's  sudden  departure,  sets  the 

stage  for  the  dialogue  to  come.      The  monody  of  Philippa  {Epid. 

526)  expressing  her  grief  at  her  daughter's  sad  fate  serves  as  the 

emotional  prelude  of  the  next  scene  and  the  lament  of  Halisca  over  the 

loss  of  the  box  {Cist.  671)  leads  up  to  the  important  disclosures  which 

follow.     The   monody   of   Euclio   {Aul.   713)   expressing   his   great 

distress  at  the  loss  of  his  gold  and  that  of  Lyconides  (727),  who 

fears  the  disclosure  of  his  secret,  give  the  emotional  tone  of  the 

dialogue  which  follows.     In  Men.  990,  the  senex  gives  directions  to 

his  slaves  to  seize  Menaechmus.     (The  song  form  in  this  case  is  due 

to  the  conventions  of  entrance  technique.     See  p.  15.)     Phronesium 


Studies  in  the  Songs  of  Plautine  Comedy 


57 


(True.  448)  gives  the  audience  information  about  her  plans.  All 
these  monodies,  then,  give  relevant  material  of  more  or  less  impor- 
tance for  the  understanding  of  the  situation  and,  in  general,  set  the 
emotional  tone  of  the  dialogue  which  follows.  With  a  few  exceptions 
{Cist.  671,  Epid.  526,  Merc.  Ill,  Pers.  168,  Stick.  274)  they  are  sung  by 
important  characters  closely  bound  up  with  the  action.  They  are, 
on  the  whole,  emotional  {Men.  990,  Pers.  7,  168,  Pseud.  133,  True. 
95  excepted).  The  portrayal  of  character  in  these  songs  seems 
rather  incidental  than  primary;  in  as  far  as  the  monodies  express 
personal  emotion,  they,  to  a  certain  degree,  portray  character,  yet 
the  singers  seem  to  represent  types  rather  than  clearly  differentiated 
individuals.  The  adulescentes,  for  instance,  are  members  of  a  certain 
well-defined  class,  not  marked  by  any  special  individuality. 

In  contrast  with  these  songs  presenting  relevant  material  is  a 
group  of  songs  which  rather  retard  the  action  by  irrelevant  and 
unnecessary  material  than  add  to  the  better  understanding  of  the 
situation.  These  songs  are,  for  the  most  part,  sung  by  minor  and 
temporary  characters  who,  as  they  are  not  directly  concerned  with 
the  action  must,  of  necessity,  sing  of  some  theme  unrelated  to  the 
plot.  Occasionally  the  device  used  to  bring  on  the  stage  the  charac- 
ter needed  for  the  action  is  an  address  to  someone  inside  the  house 
or  to  a  silent  character.  Myrrhina  delivers  entirely  unessential 
directions  to  her  slaves  {Cas.  165);  Erotium  {Men.  351)  orders  the 
preparations  for  the  feast;  Astaphium  {True.  711)  addresses  her  mis- 
tress who  is  in  the  house  (cf.  True.  95,  p.  50);  Epidicus  directs  his 
first  lines  to  someone  in  the  house  {Epid.  337) ;  Pseudolus  {Pseud.  905) 
addresses  a  character  who  he  wrongfully  thinks  is  accompanying  him. 
Sometimes  the  entering  monody  is  a  narrative  of  unessential  action. 
When  Sosia  comes  on  the  stage  {Amph.  153),  he  says  that  he  has  been 
sent  to  bear  news  of  the  battle  and,  in  rehearsing  his  story,  gives  a 
detailed  narrative  of  action  of  no  real  importance  for  the  play.  So  too 
the  cook  {Aul.  406),  rushing  on  the  stage,  tells  of  the  ill-treatment 
that  he  has  received,  information  entirely  unessential.  But  most 
frequently,  the  singer  who  is  not  yet  related  to  the  action,  takes, 
as  his  theme,  some  general,  stereotyped  topic.  This  theme  may  be 
concerned  with  the  situation  of  the  play  as  in  True.  551,  the  song 
on  the  relations  between  lovers  and  meretrices.  (Cf.  on  the  same 
general  theme  True.  95,  711.)  Certain  types  of  character  are  asso- 
ciated with  particular  themes.  The  slave  who  plays  a  subordinate 
role  in  the  play  comes  on  the  stage  singing  on  the  subject  of  the  good 


58 


Studies  in  the  Songs  of  Plautine  Comedy 


and  bad  slave  {Me7i.  966,  Most.  858,  Pers.  7,  Pseud.  1103).  The 
monody  may  be  brief  {Pers.  7)  or  long  and  elaborate  {Men.  966) 
but  its  main  function  is  to  bring  on  the  stage  the  characters  necessary 
for  important  action  in  the  next  scene.  The  lena  {Cure.  96)  when 
she  comes  on  the  stage  at  the  beginning  of  the  play  sings  a  song, 
necessarily  unconnected  with  the  action,  but  characteristic  of  the 
proverbially  bibulous  lena.  Simo  {Most.  690)  comes  on  the  stage  for 
the  first  time  about  the  middle  of  the  play,  through  the  exigencies  of 
the  plot,  entirely  unaware  of  the  preceding  action.  He  sings  of 
the  stereotyped  theme  of  domestic  infelicity,  thus  identifying  himself 
as  a  member  of  a  certain  class.  (For  the  same  theme  used  relevantly 
see  Men.  110,  Cas.  144,  p.  56.)  In  Men.  753,  the  senex  arrives, 
summoned  by  his  daughter.  As  he  does  not  yet  know  what  the 
trouble  is,  he  sings  of  a  subject  natural  to  one  of  his  class,  the  evils  of 
old  age.  Menaechmus  (Men.  571)  returns  from  the  forum  with  a 
song  on  the  evils  of  the  client  system,  at  the  end,  explaining  his  delay. 
This  is  the  only  song  on  a  general  theme  sung  by  a  character  who 
plays  an  important  part  in  the  play. 

To  sum  up,  then,  in  regard  to  these  monodies  whose  main  function 
is  to  bring  on  the  stage  naturally  and  easily  a  character  needed  for  ac- 
tion, the  dramatist  shows  considerable  skill  in  using  these  songs  also 
incidentally  to  give  atmosphere  or  throw  light  on  the  situation  or 
emotional  reaction  of  the  characters.  It  is  only  rarely  and  in  the 
case  of  characters  necessarily  not  yet  involved  in  the  action  that  he 
is  driven  to  the  awkward  use  of  stereotyped  and  irrelevant  themes 
that  retard  rather  than  advance  the  action.  Even  these  monodies 
harmonize  with  the  role  of  the  singer  and  identify  him  as  a  member 
of  a  certain  class. ^ 

^  Minor  and  temporary  characters  more  frequently  come  on  the  stage  with  mono- 
logue than  monody,  whether  at  their  first  appearance  or  later  in  the  play.  The  use 
of  the  professional  monologue  in  senarii  at  the  first  appearance  of  a  member  of  a  pro- 
fessional class  is  especially  frequent;  parasite  Capl.  69,  Men.  77,  Pers.  53,  Stick.  155; 
leno,  Poen.  449;  danista  Cure.  371,  Most.  532,  Pers.  400;  pucr  delicaliis  Pseud.  767.  (Cf. 
also'the  speech  of  the  fishermen  Riid.  290  and  the  miles  True.  482  recit.)  No  attempt 
is  made  to  individualize  the  speaker  as  the  traits  of  character  depicted  are  those  con- 
ventionally associated  with  the  members  of  that  class.  The  monologue  may  state 
directly  why  the  speaker  has  come  as  does  that  of  the  mercator  Asin.  381,  the  matrona 
Merc.  667,  the  sycophant  Trin.  843,  the  rusticus  True.  645.  He  may  identify  himself 
by  the  prayer  of  the  returned  traveller  {Poen.  950)  or  give  the  stereotyped  speech  of  the 
serous  currens  {Asin.  267,  Cure.  280,  Trin.  1008)  or  indicate  that  he  is  the  person  being 
sought  {Miles  272).  Occasionally  a  character  who  has  an  important  part  in  the  action 
also  comes  on  the  stage  for  the  first  time  with  a  monologue  rather  than  a  monody, 


Studies  in  the  Songs  of  Plautine  Comedy 


59 


Duets  are  also  used,  though  to  a  less  degree,  tobrmg  characters 
on  the  stage.     It  is  noteworthy  that  the  element  of  interest  in  charac- 
ter portrayal,  negligible  in  monodies,  is  of  primary  importance  m 
several  duets.     The  advantages  of  duet  over  monody  for  this  purpose 
are  clear-  in  this  way  two  members  of  the  same  stereotyped  class  may 
be  differentiated  and  the  character  of  the  stronger  brought  out  by  con- 
trast with  the  weaker.     The  duet  of  the  two  sisters  portrays  charac- 
ter as  well  as  narrates  facts  {Stich.  1-47).     The  opening  trio  of  the 
Cistellaria  has  the  portrayal  of  character  as  its  sole  function   since 
the  presuppositions  of  the  plot  are  not  given  until  later.     In  the    wo 
duets  in  the  Poemdus,  210-60  and  1174-1200,  the  characters  of  the  two 
sisters  are  clearly  differentiated.     In  Cas.  170-216  (not  an  entrance 
duet)  the  character  of  Cleustrata,  who  is  impetuous  and  violent  m 
temper,  is  brought  out  effectively  by  the  contrast  with  the  weaker 
and  more  yielding  Myrrhina.     The  fact  that  these  five  duets  are 
all  concerned  with  the  portrayal  of  the  character  of  women  may  be 
only  a  coincidence  but  considering  the  comparatively  unimportant 
role  played  by  women  in  comedy  it  is  not  without  mterest. 

Songs  are  frequently  used  to  fill  time-intervals  for  the  carrying 
on  of  off-stage  action  and  the  changing  of  roles.  Not  all  songs  that 
cover  the  interval  between  the  exit  and  entrance  of  a  character  are 
strictly  time-filling  in  function  for  frequently  a  person  must  leave  the 
stage  without  any  really  plausible  excuse  to  free  it  for  others  and 
the  action  on  the  stage  carried  on  during  his  absence  is  of  more 
importance  for  the  progress  of  the  plot  than  his  unessential  errand. 

the  prayer  of  the  returned  traveller  {Bac.  170,  Most.  431,  Stich.  402)  a  narrative  of  a 
dreaTC  25,  a  brief  motivation  of  entrance  Bac.  235,  or  a  reflective  narrative 
dream  ^^^^J;^^'  monologues  which  are  all  except  the  last  (recitative)  m 

:^Z  noTefoLI  an^a:^^^^^^^^    in  the  meter  conventionally  suited  to  their 
content     Three  of  these  monologues  given  by  important  characters  on  their  firs 
entrance  comlTn  the  BaccMdes  (170,  235,  385),  a  play  with  no  song  until  613,  as  far  as 

'"Sgues  abused  very  frequently  for  the  purpose  of  character  portrayal. 
The  oS  Ilo^e  of  the  Lies,  the  dialogue  of  ^^^^ 
157)   the  dialogue  between  Simo,  Pseudolus,  and  Callipho  (P..u^.  415)  ^^^  ^^^^P^^^ 
ofdia  oLes  in  which  an  interlocutor  is  brought  on  the  stage  for  this  scene  only  for 
:lt^7urVOS^oi  allowing  the  character  of  the  other  to  be  Pojt-^^^^^^^^^^^^ 
versation     The  opening  scene  of  the  Mostellaria  shows  a  careful  contra  t  between 
Grumio  and  Tranio,  although  the  former  is  a  protatic  chara^er^  Th  s  contras 
between  Dairs  of  characters  of  the  same  type  is  especially  common  m  Terence.     In  tne 
'^:Z:^i:^^^c.  ...  character  of  the  adulescentes  and  the  .n.  ^^^^  carefully 
differentiated  and  in  the  Adelphoi  the  brothers  are  very  clearly  contrasted. 


60 


Studies  in  the  Songs  of  Plautine  Comedy 


Capt.  195-250  is  an  example  of  this.  Hegio  leaves  the  stage 
at  194  saying  that  he  is  going  into  the  house  to  reckon  up  his  accounts 
and  returns  at  251  without  accomplishing  anything  specific  in  his 
absence.  In  the  meantime  comes  the  important  duet  between 
Tyndarus  and  Philocrates.  (See  above,  p.  53.)  Another  example 
is  Sagaristio's  monody,  Persa  251-71.  Paegnium  leaves  the  stage  at 
250  and  returns  at  272  with  the  words  pensum  meum  quod  datumst 
confeci  but  the  letter  that  he  has  delivered  has  no  vital  connection 
with  later  action  and  the  errand  seems  to  have  been  invented  to  get 
him  on  the  stage  for  the  banter  before  and  after  the  monody  and  to 
get  him  off  the  stage  for  the  important  narrative  monody  of  Saganstio 
itself.  Although  such  scenes  as  the  monodies  of  Hegio  and  Sagaristio 
fill  time-intervals  in  a  certain  sense,  they  are  not  primarily  or  mainly 
time-filling  in  function  but  are  a  part  of  the  web  and  woof  of  action, 
interwoven  with  varying  degrees  of  artistic  skill."' 

In  contrast  with  these  scenes  essential  for  the  plot  carried  on 
during  an  actor's  somewhat  rudely  enforced  absence  from  the  stage 
are  the  scenes  still  essential  in  character  which  are  simultaneous 
with  the  carrying  out  of  off-stage  action  necessary  for  the  plot. 
Capt.  768-80  is  an  example  of  this.  Hegio  leaves  the  stage  at  767 
and  returns  at  781  after  taking  back  Aristophontes.  In  the  meantime 
Ergasilus  enters  and  sings  a  monody  which  although  unnecessarily 
padded  informs  the  audience  that  he  has  good  news  for  Hegio. 
(Although  he  does  not  expressly  state  that  Hegio's  son  has  returned, 
the  audience,  knowing  the  situation,  would  understand  what  the 

good  news  was.)^ 

Epid.  166-81  is  an  example  of  this  in  duet.     While  Epidicus  goes 
into  the  house  to  warn  his  young  master,  the  two  old  men  enter  and 

'  Similar  examples  may  be  found  in  dialogue.  In  Cure.  532  Cappadox  says  that 
he  is  going  into  the  house  to  sacrifice.  During  his  absence  Therapontigonus  and  Lyco 
come  on  the  stage  and  through  their  conversation  the  trick  is  discovered,  Cappadox 
returning  opportunely  at  the  end.  In  Men.  226^72,  while  Cylindrus  goes  to  the 
market  and  returns,  a  dialogue  takes  place  between  Menaechmus  and  Messenio  which 
is  of  more  importance  for  the  organic  structure  of  the  play  than  Cylindrus'  absence. 
As  for  monologue,  the  presuppositions  of  the  plot  given  in  Chrysalus'  entrance  mono- 
logue Bac.  170  are  also  more  important  than  Pistoclerus'  errand  in  the  house  durmg 
the  interval.     For  further  examples  see  Conrad  op.  cit.  p.  18  fif. 

>  Examples  in  monologue  are  more  frequent.  Tranio  {Most.  1041-1063)  narrates 
off-stage  action  whUe  Theoprv  lides  goes  into  the  house  to  obtain  chains  and  lorarii. 
The  conventional  traveller's  monologue  of  Hanno  {Poen.  950-60)  gives  important 
presuppositions  of  the  plot  whUe  Milphio  tells  Agorastocles  what  he  has  just  heard. 
Mnesilochus'  narrative  and  reflective  monody  {Bac,  385-104)  covers  the  time  while 
Lydus  is  informing  the  father  of  what  he  has  discovered. 


Studies  in  the  Songs  of  Plautine  Comedy 


61 


through  their  conversation  inform  the  audience  of  important  presup- 
positions of  the  plot.^ 

Frequently  a  necessary  absence  from  the  stage  is  filled  by  a  song 
scene  that  does  not  advance  the  action  and  is  unessential  for  the 
progress  of  the  plot  but  yet  is  organic  in  portraying  character  or 
giving    atmosphere.     The    interval    of    Dordalus'    absence    at    the 
praetor's  {Pers,  752-77)  is  filled  by  the  triumphant  monody  of  Toxilus 
and  the  joyful  trio  of  the  feasters.     Similarly  at  the  end  of  the 
Pseudolus  (1246-84)  while  Simo  goes  into  the  house  to  get  the  money 
Pseudolus  enters,  intoxicated  and  hilarious,  and  gives  an  account  of 
the  feast  that  he  has  just  attended.     In  the  Mostellaria  Tranio's 
trip  to  the  harbor  is  covered  by  a  series  of  scenes  (song  and  recitative) 
that  do  not  advance  the  action  but  do  portray  character  and  give 
atmosphere.   Philolaches'  long  reflective  monody  (84-156)  shows  his 
own  character  and  the  duet-quartette  of  the  drinking  scene  (313-47) 
gives  the  desired  atmosphere  of  revelry  and  dissipation.     The  duet 
of  the  Epidicus,  320,  sung  while  Epidicus  goes  into  the  house  to  obtain 
money  throws  light  on  the  character  of  the  singers.     During  Toxilus' 
absence  from  the  stage  to  give  Paegnium  his  instructions  {Pers.  168- 
82)  Sophoclidisca  sings  a  song  that  is  unessential  but  not  irrelevant 
since  it  is  directly  concerned  with  the  general  situation.     In  the 
trio  of  the  Casina  855-74  the  women  talk  of  what  is  going  on  inside 
and  of  the  success  of  their  trick  while  they  are  waiting  for  the  victims 
of  the  intrigue  to  appear.     These  songs  whether  monodies,  duets  or 
trios  are  alike  in  that  they  are  sung  by  entering  characters  who  are 
needed  on  the  stage  for  the  next  scene.    Cure.  139-57  dififers  from  these 
in  as  much  as  the  absence  of  the  leaena  is  covered  not  by  an  entering 
song  but  by  a  link  song  that  continues  the  song  begun  at  the  first 
entrance  of  Xh^  leaena  (96).     While  she  goes  into  the  house  to  get  the 
girl,  Phaedromus  and  Palinurus  sing  a  short  duet  commenting  on  the 
situation  (139-46)  and  then  Phaedromus  in  his  impatience  sings  a 
serenade  to  the  doors  asking  them  to  open  and  let  his  mistress  out. 
So  too  the  short  link  monody   {Aul.  444-46  and  447-8   recitative) 
continuing  the  preceding  duet  fills  the  brief  interval  of  Euclio's 
absence  by  a  bewildered  comment  on  the  situation.     These  songs  are, 
however,  all  alike;  for  they  are  unessential  in  the  sense  that  they 
could  be  omitted  without  injuring  the  plot  structure  but  yet  con- 

•  This  is  frequently  found  in  dialogue  through  the  natural  interrelation  of  chapters 
of  action. 


62 


Studies  in  the  Songs  of  Plautine  Comedy 


tribute  more  or  less  to  the  better  understanding  of  the  situation  and 
are  directly  connected  with  the  theme  of  the  play.^° 

In  addition,  songs  on  stereotyped  and  wholly  irrelevant  themes 
are  occasionally  used  to  fill  time-intervals.     Two  of  the  three  exam- 
ples of  this  are  on  the  subject  of  the  good  and  bad  slave.     In  Men- 
aechmi  the  senex  leaves  the  stage  at  956  to  obtain  slaves  and  returns  with 
them  at  990.     This  interval  is  covered  by  a  monologue  of  Menaech- 
mus  expressing  his  bewilderment  and  by  an  entrance  monody  of  the 
slave,  Messenio.     The  unessential  link  monologue  of   Menaechmus 
(957-'65)  gives  the  actor  who  played  the  part  of  the  medicus,  leaving 
the  stage  at  956,  time  to  change  his  role  and  appear  at  966  as  the 
slave,  Messenio,  who  is  needed  for  the  next  scene.   This  explains  why 
two  units  instead  of  one  were  used  to  cover  the  absence  of  the  senex. 
Messenio's  entering  monody  is  a  long  and  elaborate  treatment  of 
the  topic  of  the  good  slave's  relation  to  his  master,  with  a  personal 
application  at  the  end.     The  monody  in  Most.  (858-84)  is  very  simi- 
lar.    While  Tranio  and  Theopropides  are  examining  the  house,  the 
slave,  Phaniscus,  enters  and  sings  a  monody  about  equal  in  length 
to  that  in  the  Menaechmi,  on  the  same  subject  and  worked  out  in 
much  the  same  way  except  that  the  personal  application  is  given  in 
more  detail.     It  differs  from  the  other  passage  in  that  it  is  followed 
by  the  entrance  of  a  second  slave  and  a  duet  that  is  equally  unessen- 
tial.    The   monody   of    the   returned   traveller    {Trin.    820-42)    fills 
JO  There  are  several  examples  of  time-filling  monologues  that  are  similarly  unessen- 
tial to  the  plot  but  likewise  throw  some  light  on  the  character  of  an  individual  or  the 
general  situation.     Those  spoken  by  entering  characters  needed  for  the  next  scene  are 
Bac  526-9,  a  speech  addressed  to  someone  in  the  house  while  Mnesilochus  is  returnmg 
the  money-  Merc.  544-61,  Demipho's  moralizing  reflection  on  the  situation  while 
Lysimachus  takes  the  girl  into  the  house;  Merc.  830-41,  farewell  prayer  of  Charmus, 
that    together  with  Syra's  exit  monologue,  which  precedes,  fills  the  interval  of  Euty- 
chus'  absence  in  the  house;  Triu:.  699-710,  Diniarchus'  joyful  monologue  at  the  success 
of  his  love-affair,  fills  the  interval  of  Astaphium's  absence.    Stich.  673-82  is  spoken  by 
an  entering  character  who  leaves  the  stage  at  the  close  of  her  monologue.     During 
the  preparations  for  the  feast  Stephanium  comes  out  and  in  a  direct  address  to  the 
audience  tells  what  preparations  are  being  made.     Exit  and  link  monologues  of  this 
type  are  even  more  frequent.     They  are  short,  frequently  consist  of  a  comment  on 
the  situation  or  are  otherwise  related  to  the  theme  of  the  play  {Aul.  67-78,  204-6, 
243-9-  Bac.  795-8, 913-24, 1053-8;  Cas.  424-36,  504-14,  Men.  876-81, 957-65  (+monody 
966-989),  1039-49;  Merc.  789-802;  Miles  464-68,  522-27,  1388-93;  Pseud.  1017-37; 
Rud.  1353-56).    Dialogues  are  also  used  in  this  way.    Merc.  957-61  is  spoken  by 
entering  characters  necessary  for  the  next  scene,  fiUing  a  time-interval  with  conversa- 
tion related  to  the  theme  of  the  play.    In  Bac.  101-8  the  time-interval  is  filled  by  an 
exit  dialogue. 


Studies  in  the  Songs  of  Plautine  Comedy 


63 


the  interval  while  the  sycophant  is  being  hired  and  instructed.  It  is 
entirely  inorganic  inasmuch  as  it  consists  simply  of  a  description,  long 
and  elaborate,  of  the  perils  of  the  sea  and  an  expression  of  thanks 
for  his  safe  return.  All  three  monodies  are  sung  by  entering  charac- 
ters necessary  for  the  next  scene. ^^ 

In  conclusion,  then,  it  may  be  said  that  song  in  the  plays  of 
Plautus  shares  with  monologues  and  dialogues  a  time-filling  function. 
Of  the  fifteen  possible  examples  of  this  (not  considering  as  separate 
items  Most.  885-903,  which  follows  a  monody,  or  Most.  313-48,  included 
in  the  same  unit  as  Most.  84)  Pers.  251-71  (monody)  and  Capt. 
195-250  (duet)  may  be  disregarded  since  their  function  in  advancing 
the  plot  is  more  important  than  their  time-filling  function.  Of  the 
remaining  nine  monodies  and  four  duets,  all  but  two  (Aul.  444-8, 
short  und  unimportant  monody  changing  to  recitative,  and  Cure. 
139-57,  duet  and  monody)  are  sung  by  entering  characters  necessary 
for  the  next  scene  and  either  follow  or  obviate  a  vacant  stage.  Ex- 
cept for  three  monodies,  all  these  songs  though  not  ordinarily  essen- 
tial to  the  plot  are  still  more  or  less  directly  concerned  with  the 
situation  and  portray  character,  give  atmosphere,  etc.  Three, 
Men.  966-89,  Most.  858-903,  Trin.  820-42  are  decidedly  irrelevant  in 
material  but  at  least  serve  to  introduce  characters  essential  for  the 
next  scene.  For  this  reason  they  are  less  mechanical  and  artificial 
than  such  monologues  as  Aul.  398-405,  Capt.  909-21,  Cure.  462-86, 
Pseud.  767-89,  Stich.  673-82. 


Excursus  I 

Inorganic  monologues  on  irrelevant  themes  are  frequently  used 
to  fill  time-intervals.  Aul.  587-607  (recitative)  on  the  theme  of  the 
good  slave  is  very  much  like  Men.  966  and  Most.  858.  While  Euclio 
is  hiding  his  gold,  the  slave,  entering,  moralizes  on  the  duty  of  a  good 
slave,  at  the  end  motivating  his  entrance.  His  presence  is  needed 
for  the  next  scene.  Self-introductory  speeches  of  professional  types 
bringing  on  the  stage  persons  essential  for  the  next  scene  are  some- 
times used  to  fill  time-intervals;  Cure.  371-84  (senarii),  Most.  532 
(senarii,  together  with  Tranio's  link  monologue),  Pers.  53-80  (sen- 
arii). Equally  unessential  are  Lysimachus'  narrative  of  inorganic 
off-stage  action  while  Dorippa  is  in  the  house  {Merc.  692-99  senarii) 
and   Daemones'    narrative   of   his   dream    (Rud.    593-614,   senarii). 

"  See  excursus  at  end  of  chapter. 


64 


Studies  in  the  Songs  of  Plautine  Comedy 


(The  interval  between  Labrax's  entrance  into  the  temple  570  and 
Trachalio's  exit  telling  of  his  violence  615  is  covered  by  three  units 
571-83,  dialogue  between  Sceparnio  and  Charmides,  exit-monologue 
of  Charmides  584-92,  entrance  monologue  of  Daemones  593-614. 
Since  the  actor  who  plays  the  part  of  Sceparnio  evidently  also  played 
the  part  of  Trachalio,  time  must  be  given  him  for  the  change  of  roles. 
The  exit  monologue  of  Charinus  would  alone  give  him  the  needed 
time  but  Daemones  must  be  brought  on  the  stage  for  the  next  scene. 
Cf.  Rud.  404-13  where  Ampelisca's  link  monologue  gives  time  for  the 
actor  to  change  from  the  role  of  Trachalio  to  that  of  Sceparnio.) 
In  addition  to  these  monologues  spoken  by  characters  necessary  for 
the  next  scene  are  those  spoken  by  a  person  who  withdraws  at  the  end 
of    his    monologue     {Aul   398-405;   Capt.   461-97,   909-21;   Pseud, 
767-89).     In   Capt.   461-97    the   monologue   of   the   parasite   covers 
the  interval  of  Hegio's  absence  by  a  narrative  of  decidedly  inorganic 
action,  which,  however,  has  the  added  purpose  of  relieving  the  serious 
nature  of  the  play  and  amusing  the  audience.     This  same  desire  to 
amuse  the  audience  may  be  seen  in  Capt.  909-21.     In  covering  the 
interval  of  Hegio's  absence  (900-22)  two  monologues  are  used,  the 
first  901-8,  the  exit  monologue  of  Ergasilus  telling  of  the  feast  in  store 
for  him,  the  second,  an  entrance  monologue  of  a  puer  who  tells  what 
Ergasilus  is  doing  in  the  kitchen  and  then  withdraws  (909-21).     The 
reason  why  two  monologues  are  used  instead  of  one  is  that  the  actor 
playing  the  part  of  Ergasilus  is  needed  for  a  new  role  in  the  next 
scene  and  must  have  time  to  change.     (Prescott,  Harvard  Studies 
XXI  (1910)  37-39.)     Still  more  mechanical,  since  it  is  without  the 
excuse  of  a  comic  appeal,  is  Aul.  398-405.     To  fill  the  interval  between 
Euclio's  exit  and  Congrio's  appearance  to  tell  of  the  ill-treatment  that 
he  has  received  from  Euclio,  the  cook.  Anthrax,  enters  speaking  to 
some  one  in  the  house  and  at  the  sound  of  confusion  from  the  other 
house  runs  back.     In  Pseud.  l(il-%9,  the  puer  in  a  self-introductory 
professional  speech  gives  time  for  the  actor  to  change  his  role  but 
plays  no  other  part  in  the  play.     (Prescott,  op.  cit.  40-44.)     There 
are  a  few  examples  of  inorganic  link  or  exit  monologues  that  are 
time-filling.     Syra's  monologue  {Merc.  817-29)  is  a  clearly  inorganic 
and  irrelevant  exit  monologue,  advising  a  legislative  reform  to  give 
women  their  proper  rights.     It  is  followed  by  the  entrance  mono- 
logue of   Charinus   that  assists  in  filling   the   time-interval.     The 
reason  why  two  monologues  rather  than  one  are  used  to  fill  the 
interval  is  not  clear.     In  this  case  it  is  not  for  a  change  of  roles 


Studies  in  the  Songs  of  Plautine  Comedy 


65 


as  Syra  and  Eutychus  or  Eutychus  and  Charinus  cannot  be  played 
by  the  same  actor.  Cure.  462-86  (recitative)  is  spoken  by  the 
choragus  who  does  not  have  a  speaking  part  in  either  the  preceding 
or  succeeding  scene  but  who,  as  the  first  lines  of  his  speech  show 
(462  ff.),  has  been  on  the  stage  during  the  preceding  scene  and  who 
probably  was  addressed,  sequere  (390).  The  monologue  fills  the 
interval  while  the  buying  of  a  girl  is  being  arranged  off-stage.  After 
the  first  five  lines  it  is  general  in  subject  and  entirely  irrelevant  in 
theme.  The  mechanical  nature  of  this  as  a  time-filling  device  is 
shown  by  466-7  sed  dum  hie  egreditur  foras  commostrabo  quo  in  quem- 
que  hominem  inveniatis  loco.  The  Roman  contents  of  the  monologue 
must  be  noted. 

Inorganic  dialogue  is  frequently  time-filling  in  function.  The 
scene  between  Palaestro  and  Lurcio  {Miles  813-66)  together  with 
the  preceding  dialogue  between  Palaestro  and  Pleusicles  and  the 
succeeding  link  monologue  of  Palaestro  (867-73)  fills  the  interval 
while  Periplectomenus  is  giving  Acroteleutium  her  instructions,  with 
comic  and  unessential  material.  The  short  dialogue  805-12  and  the 
monologue  867-73  give  a  chance  for  the  actor  who  takes  the  part  of 
Periplectomenus  to  change  to  the  role  of  Lurcio  and  back  again. 
In  the  same  way  while  Agorastocles  is  getting  his  advocati  {Poen.  449- 
503)  the  interval  is  covered  by  Lycus'  monologue  449-470  and  the 
unessential  and  humorous  dialogue  between  Lycus  and  Anta- 
moenides.  The  exit  monologue  of  Agorastocles  445-48  and  the 
monologue  of  Lycus  would  give  the  actor  who  plays  the  part  of 
Milphio  time  to  change  to  the  role  of  Antamoenides.  The  first 
monologue  would  make  it  possible  for  him  to  change  to  Lycus,  which 
would  be  equally  possible  as  far  as  the  rest  of  the  play  goes  but 
since  the  role  of  Milphio  is  a  heavy  role  it  seems  more  likely  that 
he  would  have  the  comparatively  light  role  of  the  soldier  rather  than 
the  heavy  role  of  Lycus.  For  other  examples  of  inorganic  time- 
filling  scenes,  see  Conrad  op.  cit.  p.  35  ff. 

Terence  differs  noticeably  from  Plautus  in  his  technique  of 
filling  time-intervals.  Not  only  does  he  omit  songs  almost  entirely 
but  the  monologues  which  he  uses  to  fill  the  interval  necessary 
for  off-stage  action  are,  with  a  very  few  exceptions,  link  and  exit 
rather  than  entrance  monologues.  These  monologues  are,  as  a 
rule,  very  short  and  do  not  advance  the  action  but  yet  are  not 
unrelated  to  the  theme,  consisting  of  a  comment  on  the  situation 
{Eun,  997-1001,  Adelph.  783-5,  Heaut.  559-61,  949-54,  Hec.  794-8 


66 


Studies  in  the  Songs  oj  Flauiine  Comedy 


with  entrance  monologue,  Phortn.  778-84)  or  on  the  character  of 
some  person  (And.  716-20,  Heaut.  503-7)  or  motivating  exit  {Phormio 
311-14).  In  two  cases  Hec.  361-414,  816-40  the  link  monologue  is 
long  and  narrates  essential  off-stage  action.  Examples  of  entrance 
monologues  used  to  fill  time-intervals  are  Eun.  923-40  and  Eec. 
799-807  (preceded  by  exit  monologue  that  assists  in  filling  the 
interval),  both  unessential  and  padded  but  serving  to  motivate 
entrance.  There  are  no  monologues  used  for  this  purpose  that 
are  as  decidedly  inorganic  and  irrelevant  as  several  of  Plautus'. 
Dialogues  are  also  used  by  Terence  to  cover  a  necessary  time- 
interval,  either  essential  as  Hec.  lld-dl  or  unessential  but  relevant 
as  Phorm,  441-64.  Link  dialogues  are  used  for  this  purpose  when 
two  people  are  left  on  the  stage  as  Eun.  494-500,  664-7,  1043-9. 


VI.     ANALYSIS  OF  INDIVIDUAL  PLAYS 

The  Casina,  the  play  in  which  song  plays  a  more  important  part 
than  in  any  other  play  (387  lines,  38%)^  begins  with  a  long  prologue 
speech   (1-88,   senarii)   giving   the  presuppositions  of   the  plot.     A 
father,  Lysidamus,  and  a  son  (unnamed)  are  both  in  love  with  a 
slave-girl  of  the  household,  Casina.     Each  tries  to  marry  her  to  a 
favorite  slave,  Lysidamus  to  Olympio,  the  son  to  Chalinus.     Cleus- 
trata,  the  wife  of  Lysidamus,  in  the  absence  of  her  son,  favors  his 
desires,  in  opposition  to  her  husband's  suspected  purpose.     In  the 
opening  dialogue  scene  (89-143,  senaiii),  the  two  slaves,  Olympio 
and  Chalinus,  boast  of  their  expected  success  and  taunt  each  other. 
The  scene  gives  no  essential  information  but  portrays  the  atmos- 
phere of  the  play  as  a  whole.     An  elaborate  song-sequence  of  about 
a  hundred  lines,  consisting  of  monody,  monody,  duet,  monody,  duet 
follows.      In  the  first  monody  Cleustrata  expresses  her  anger  at  the 
conduct  of  her  husband;  in   the   second   monody   Myrrhina  gives 
unessential  directions   to   her  slaves.     (The   song  form   of   this  is 
evidently  due  to  the  conventions  of  entrance  technique.)     In  the 
duet  that  follows,  the  emotion  of  the  first  monody  is  continued; 
Cleustrata  complains  bitterly  of  her  husband  and  Myrrhina  plays 
the   part   of   a   sympathetic   listener.     The   duet   shows   a   decided 
contrast  between   the  weak,   yielding   Myrrhina  and   the   violent- 
tempered   Cleustrata.     At   Myrrhina's  exit,   Lysidamus   comes   on 
the  stage  with  a  complacent,  self-satisfied  monody  on  the  manner 
in  which  his  own  personal  charm  is  enhanced  by  his  happy  love-affair. 
The  emotion  of  this  monody  marks  a  decided  contrast  to  Cleustrata's 
entering  monody  and  makes  his  discomfiture  at  the  end,  when  he 
sees  his  wife,  greater.     In  the  duet  that  follows  he  tries  vainly  to 
soothe  her  and  she  berates  him.     As  they  come  to  serious  discussion 
of  the  disputed  point,   the  meter  changes  to  recitative  with  the 

words,  sed  quid  ais! 

The  dialogue  that  follows  (252-78  recitative)  initiates  the  action 
after  this  succession  of  expository  scenes.  Lysidamus  and  Cleustrata 
agree,  each  to  influence  the  other's  favorite  to  withdraw  from  the 

1  The  arrangement  of  lines  in  Lindsay's  edition  is  used  as  a  basis  for  these  figures 
but  any  attempt  at  estimating  the  relative  amount  of  song  and  non-song  must  be 
rough  and  inaccurate  as  the  length  of  lines  varies  and  their  arrangement  in  the  song 
may  differ  with  the  editor. 


68 


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contest  for  the  girl.  At  Cleustrata's  exit,  Chalinus  enters  and  Lysi- 
damus  tries  in  vain  to  persuade  him  to  withdraw  (279-308  recita- 
tive). Then  Olympio,  entering,  relieves  Lysidamus'  anxiety  by 
saying  that  he  has  resisted  Cleustrata's  urging  (309-52  senarii). 
The  next  step  in  the  action  is  an  attempt  to  solve  the  question  by 
the  drawing  of  lots.  Olympio  is  successful  and  preparations  for  his 
marriage  to  Casina  are  begun  (353-423  recitative).  Chalinus 
comments  on  the  incident  just  witnessed  in  monologue  (424-36 
senarii)  and,  remaining  on  the  stage,  overhears  the  conversation 
between  Lysidamus  and  Olympio  and  learns  that  it  is  Lysidamus 
and  not  the  slave  who  is  in  love  with  Casina  (437-514  senarii). 
The  action  in  the  next  scenes  is  almost  at  a  standstill  (515-620). 
Lysidamus  reminds  his  neighbor  Alcesimus  of  his  promise  to  give 
him  the  use  of  his  house,  which  necessitates  getting  rid  of  his  wife 
and  slaves  (515-30  recitative).  Alcesimus  tries  in  vain  to  have  Cleus- 
trata  invite  his  wife  to  her  house  (531-62  recitative).  Lysidamus 
returns  from  the  forum  with  a  monologue  explaining  his  delay 
(563-75  senarii);  Cleustrata  tells  him  that  Alcesimus  has  refused  to 
allow  his  wife  to  accept  her  invitation  (576-90  senarii);  Lysidamus 
berates  his  friend  who  promises  to  send  his  wife  at  once  (591-620 

senarii). 

This  rather  long  non-song  passage  (252-620,  369  vss)  consists  of  a 
regular  and  balanced  succession  of  recitative  and  senarii  (a.b.a.b.a.b.). 
There  is  no  apparent  reason  for  the  frequent  change  from  recitative 
to  senarii  and  back  again  to  recitative  except  a  possible  desire  to 
vary  the  manner  of  delivery;  i.e.,  neither  the  recitative  nor  senarii  is 
characterized  by  any  special  features,  such  as  the  display  of  emotion. 
The  change  of  meter  occurs  at  the  entrance  or  exit  of  a  character. 
The  passages  are  fairly  well  balanced  in  length  (57:44:71:91:48:58). 
This  non-song  passage  is,  as  a  whole,  unemotional,  in  decided  contrast 
to  the  emotional  song  passages  that  precede  and  follow  it. 

The  second  song  series  (621-759)  is  longer  than  the  first  and 
consists  of  monody,  duet,  duet.  It  begins  with  the  mock-tragic 
monody  of  the  maidservant  Pardalisca,  Cleustrata's  ally,  as  she 
rushes  forth  from  the  house  in  pretended  fear  of  Casina.  The  duet 
that  follows  continues  the  emotional  tone  of  the  monody;  Pardalisca, 
in  carrying  out  the  trick  as  planned,  tells  Lysidamus  of  Casina's 
madness  and  succeeds  in  frightening  him.  The  exit  of  Pardalisca 
(719)  is  followed  by  the  entrance  of  Olympio  who  is  returning  from 
the  market  with  the  cook.     A  sudden  change  to  the  comic  comes 


Studies  in  the  Songs  of  Plautine  Comedy 


69 


about  with  Olympio's  joke  on  the  thieving  nature  of  cooks  and  his 
pompous,  boasting  attitude  towards  his  master.  After  a  dispute 
as  to  who  should  venture  into  the  house  first,  they  leave  the  stage 
together  (758).  This  part  of  the  song,  then,  (720-58)  is  unemotional. 
The  song  sequence,  as  a  whole,  advances  the  action  by  carrying  out 
one  of  the  several  tricks  tried  by  the  women. 

Pardalisca  comes  upon  the  stage  (759)  and  tells  of  the  jokes 
being  played  upon  Lysidamus  and  Olympio  and  of  the  new  trick 
which  is  to  be  tried.  Her  monologue  (759-79),  as  might  be  expected 
from  its  narrative,  prologizing  content,  is  in  senarii.  It  is  a  rare 
example  of  the  senarii  directly  following  song;  the  slight  interval 
that  probably  occurred  before  her  entrance  helps  to  soften  the 
abruptness  of  the  change.  Her  monologue  is  followed  by  the 
entrance  of  Lysidamus.  Impatient  at  the  delay,  he  says  that  he  will 
dine  in  the  country  and  sends  Pardalisca  into  the  house  to  help  in 
the  wedding  preparations  (780-97  senarii).  Olympio,  adorned  for  the 
wedding,  enters  with  the  tibicen  (797-814  recitative)  and  the  marriage 
hymn  is  sung.  Here  the  change  from  senarii  is  provided  for  by  the 
presence  of  the  tibicen.  The  reason  for  the  choice  of  recitative 
rather  than  song,  which  is  limited  to  two  lines  of  the  hymenaeus 
(800  and  808),  may  have  been  again  a  desire  for  a  greater  variety 
of  delivery;  song,  senarii,  recitative,  song  rather  than  simply  song, 
senarii,  song. 

The  third  song  sequence  (815-963)  is  interrupted  by  a  short 
passage  of  iambic  senarii  (847-54)  but  the  whole  series  may  be 
considered  as  one.  It  is  about  equal  in  length  to  the  second  song 
complex,  consisting  of  monody,  trio,  duet  (senarii),  trio,  monody, 
trio,  monody.  It  begins  as  Pardalisca  comes  out,  leading  the 
supposed  Casina  (Chalinus,  in  reality),  to  whom  she  sings  briefly. 
She  withdraws  and  leaves  the  veiled  bride  to  Olympio  and  Lysidamus, 
whose  love-making  is  interrupted  by  senarii  as  soon  as  they  begin 
to  suspect  that  something  is  wrong.  Their  exit  is  followed  by  the 
entrance  of  Cleustrata,  Myrrhina,  and  Pardalisca,  who,  singing  of  the 
success  of  their  plan  (855-74),  conceal  themselves  so  as  to  intercept 
the  men  as  they  come  out.  In  this  way,  they  cover  the  interval 
while  Olympio  and  Lysidamus  are  discovering  the  masquerade  in 
the  house.  The  emotional  monody  of  Olympio  follows  (875-91), 
in  which  he  expresses  his  chagrin  at  being  caught  in  this  way  and, 
incidentally,  tells  how  the  trick  was  discovered.  The  emotion  of  the 
monody  is  continued  in  a  trio  (892-936),  when  Olympio  goes  on  with 


70 


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his  tale,  in  answer  to  questions.  The  monody  of  Lysidamus  (937-60) 
expresses  the  same  feeling  of  chagrin  as  Chalinus'  song  (875-91). 
The  meter  changes  to  recitative  at  the  end  of  his  monody  and  the 
play  concludes  with  a  short  scene  (963-1015  trochaic  septenarii)  in 
which  the  reconciliation  between  Cleustrata  and  her  husband  is 
hastily  brought  about  and  the  announcement  made  that  Casina 
will  be  found  to  be  the  daughter  of  the  neighbor  and  will  marr>' 
Lysidamus'  son.  This  change  to  recitative  is  natural  since  the 
plays,  as  a  rule,  end  with  trochaic  septenarii. 

The  Casina,  then,  as  a  whole,  seems  to  furnish  evidence  of  a 
conscious  attempt  on  the  part  of  the  dramatist  to  secure  symmetrical 
balance  in  the  use  of  meters.  It  consists  of  a  succession  at  more  or 
less  regular  intervals  of  a  (senarii),  b  (recitative),  c  (song)  as  follows: 
a,  c,  b,  a,  b,  a,  b,  a,  c,  a,  b,  c,  (c,  a,  c),  b.  The  play  is  divided  into  four 
parts  by  three  long  song  sequences;  the  first  preceded  by  iambic 
senarii  and  the  last  succeeded  by  trochaic  septenarii.  The  first  and 
second  songs  are  separated  by  three  groups  of  recitative  and  senarii ; 
the  second  and  third  by  one  of  senarii  and  recitative.  Occasionally, 
another  motive  for  the  choice  between  recitative  and  senarii  is  seen; 
for  instance,  the  prologizing  monologue  (759  fiF.)  is  conventionally  in 
senarii.  But,  frequently,  a  desire  for  variety  in  the  manner  of 
delivery  is  the  only  reason  discernible  for  the  change  from  recitative 
to  senarii  and  back  again  to  recitative. 

The  songs,  on  the  other  hand,  are  motivated  as  song  by  their 
expression  of  emotion,  which  is,  in  fact,  entirely  confined  to  song  in 
this  play.  Certain  parts  of  the  songs,  however,  are  unemotional  as 
720-58  and  855-74.  The  dramatist  motivated  the  song,  as  a  whole, 
by  the  expression  of  emotion  but  he  did  not  succeed  (supposing  that 
he  cared  to  do  so)  in  the  difficult  task  of  keeping  up  to  a  high  emo- 
tional pitch  the  whole  passage  of  more  than  a  hundred  lines.  He 
did  not  change  back  to  recitative  or  senarii  for  the  unemotional 
passages,  perhaps  because  it  suited  his  metrical  scheme  to  have  the 
song  continue  or  because  he  wished  the  song  to  be  a  unit  in  itself; 
the  first  song  ends  with  a  definite  change  from  exposition  to  the 
initiation  of  action  (252);  the  second  song  (621-758)  consists  of  one 
complete  episode;  the  third  (815-962)  is  again  a  complete  incident. 
The  artistic  value  of  the  songs  of  the  Casina  as  song,  then,  is  two- 
fold. They  enhance  the  emotional  tone  of  certain  passages  (144  ff.; 
621  ff.;  875  ff.),  and  they  relieve  an  otherwise  rather  monotonous 
succession  of  senarii  and  recitative  by  a  complete  change  in  the 
manner  of  delivery. 


Studies  in  the  Songs  of  Plautine  Comedy 


71 


The  Pseudolus  is  also  rich  in  song  (328  lines,  24%).     It  begins, 
after  a  preliminary  couplet,  with  a  dialogue  scene  (3-132)  in  senarii 
in  which  the  presuppositions  of  the  plot  are  given.     Calidorus  tells 
his  confidential  slave,  Pseudolus,  of  his  love  for  a  meretrix  who  is  in 
danger  of  being  sold  to  a  soldier.     The  soldier  has  paid  fifteen  minae 
and  is  to  send  a  messenger  with  five  more  minae  and  receive  the 
girl.     Ballio,  the  leno,  comes  on  the  stage  with  his  lorarii  and  mere- 
trices,  giving  directions  to  the  members  of  his  household  in  a  monody 
(133-93)  with  all  the  brutality  of  the  typical  leno.     Calidorus  and 
Pseudolus  comment  upon  him  in  an  aside  duet  (193-209);  Ballio 
continues  his  monody  (210-29),  Pseudolus  and  Calidorus  renew  their 
duet  (230-39)  and  finally  address  Ballio  (240).     The  trio  that  follows 
consists   of   the   ordinary   exchange   of   abuse,   finally   changing   to 
recitative  when  serious  discussion  begins,  with  the  words  hue  cum 
lucre  respicias?  (264).     The  song  portrays  the  atmosphere  of  the 
play  by  showing  the  establishment  of  the  leno  and  introducing  him 
to  the  audience.     It  is  not  emotional  except  as  far  as  Pseudolus 
and  Calidorus  express  their  indignation,  but  the  song  form  must 
have  increased  the  lively  nature  of  the  scene.     The  stage  was  full  of 
silent  characters  who  may  have  danced  about  as  Ballio  applied  his 
whip  and  thus  the  comic  character  of  the  scene  may  have  been 
enhanced  in  the  eyes  of  the  audience. 

The  action  is  initiated  in  the  dialogue  that  follows  (265-393  reci- 
tative). Calidorus  taxes  Ballio  with  breaking  his  promise  and  urges 
him  to  wait  until  he  can  obtain  the  money,  but  Ballio  merely  says 
that  he  will  give  the  girl  to  the  one  who  brings  the  money  first. 
After  Ballio's  exit  (380)  Pseudolus  assures  Calidorus  that  he  will  get 
the  money  and  sends  him  off  to  find  a  friend  (393).  In  the  meantime 
Pseudolus  reflects  on  the  difficulty  of  the  situation  (monologue  394- 
414  senarii).  Simo,  the  father  of  Calidorus,  enters  with  a  friend, 
Callipho,  discussing  the  disgraceful  love-affair  of  his  son  (415-444). 
When  they  see  Pseudolus  (445),  Simo  blames  him  for  his  son's 
misconduct.  Pseudolus  admits  all  the  charges  and  declares  that  he 
will  get  the  money  from  Simo  himself  and  obtain  the  girl.  Simo 
promises  him  twenty  minae,  if  he  succeeds  (445-573  senarii). 

Pseudolus,  after  withdrawing  from  the  stage  for  reflection, 
returns  and  sings  a  triumphant  monody,  sure  of  success  (574-93). 
This  joyous  monody  is  followed  by  a  second  entrance  monody  of 
Harpax,  the  slave  of  the  soldier,  who  has  come  with  a  letter  from 
his  master  to  obtain  the  girl.  The  meter  changes  to  recitative  as 
Pseudolus  addresses  him. 


72 


Studies  in  the  Songs  of  Plautine  Comedy 


In  the  dialogue  that  follows  (604-66  recitative)  Pseudolus  tells 
Harpax  that  he  is  Ballio's  slave  and  takes  the  letter  from  him  while 
Harpax  retires  to  wait  for  Ballio's  return.  Pseudolus  speaks  another 
triumphant  monologue  over  his  good  fortune  (667-93  recitative,  a 
link  monologue,  song  being  limited  to  entrance  parts).  Then  Calidorus 
returns  with  a  friend  who  promises  to  furnish  five  minae,  and  a  clever 
slave  who  will  play  the  part  of  Harpax  and  thus  get  possession  of  the 
girl  (694-766  recitative).  While  preparations  are  being  made,  an 
unessential  scene,  padded  for  comic  effect,  follows  (767-904  senarii) ; 
a  monologue  by  a  puer  (767-89);  a  dialogue  between  Ballio  and  a 
cook  (790-891);  an  exit  monologue  of  Ballio  (892-904)  in  which  he 
says  that,  warned  by  Simo,  he  is  taking  every  precaution  against 

Pseudolus. 

Pseudolus  then  enters  with  a  monody  (905-12)  expressing  his 
impatience  at  the  delay  of  Simla,  the  sycophanta.  At  Simians 
entrance,  Pseudolus  warns  him  to  be  careful  and  Simla  boasts  of  his 
skill.  The  duet  (913-50)  changes  to  recitative  when  Simla  asks  for 
specific  directions  as  to  the  house  of  Ballio  (951-55). 

At  Ballio's  entrance,  Pseudolus  retires  and  Simla  presents  the 
letter  of  the  soldier  (956-997),  the  meter  changing  to  senarii  (998) 
with  the  reading  of  the  letter.  Ballio,  easily  persuaded,  takes  Simla 
into  the  house  for  the  girl  (1002-1016  senarii).  Pseudolus,  mean- 
while, anxious  for  the  outcome,  speaks  a  link  monologue  (1017-36 
senarii).  When  Simla  comes  out  with  the  girl,  they  withdraw  (1037-51 
senarii).  Ballio  then  appears,  expressing  his  self-satisfaction  at 
having  outwitted  Pseudolus  (1052-62)  and  tells  Simo  who  enters 
(1063)  that  he  has  sold  the  girl  to  the  soldier  (1063-1102  senarii). 

At  this  point,  Harpax  enters  with  a  monody  on  the  good  and 
bad  slave  (1103-1123).  Ballio  and  Simo  comment  upon  him  in  an 
aside  duet,  the  meter  changing  to  recitative  just  before  they  address 
him  (1134).  In  the  dialogue  that  follows  (1136-1245  recit.)  they 
learn  of  the  trick  that  has  been  played  and  leave  the  stage  in  chagrin. 

Pseudolus  then  enters,  intoxicated  and  hilarious,  and  tells  in  a 
monody  of  the  feast  from  which  he  has  just  come  (1246-1284).  He 
calls  Simo  from  the  house  and  a  duet  follows  (1285-1334),  at  the  end 
of  which  the  two  are  reconciled  and  go  off  the  stage  together.  The 
song  form  of  this  last  song  scene  is  evidently  due  to  a  desire  to 
heighten  the  atmosphere  of  dissipation  and  hilarity,  as  in  the  komos 
of  Old  Greek  Comedy. 


Studies  in  the  Songs  of  Plautine  Comedy 


73 


The  Pseudolus  in  its  emtrical  structure,  shows  a  balanced  and 
symmetrical  arrangement  of  meters,  a  succession  of  senarii,  recitative 
and  song  as  follows:  a,  c,  b,  a,  c,  b,  a,  c,  b,  a,  c,  b,  c.  It  contains 
five  songs,  dividing  the  play  into  five  parts.  The  last  song  ends  the 
play,  the  first  song  is  preceded  by  senarii  and  the  fourth  song  suc- 
ceeded by  recitative.  Between  the  first  and  second,  the  second  and 
third,  and  third  and  fourth  occurs  a  passage  of  recitative  followed  by  a 
passage  of  senarii. 

Ordinarily  the  choice  of  recitative  or  song  for  a  particular  passage 
seems  to  be  due  to  this  preference  for  a  succession  of  song,  recitative, 
senarii  but  occasionally  another  motive  is  apparent.  For  instance, 
the  reading  of  a  letter  (998  ff.)  and  the  speech  of  a  professional 
character  (767  fit.)  occur  regularly  in  senarii  in  all  the  plays.  The  joy 
of  Pseudolus'  monologue  (667  ff.)  is  expressed  more  suitably  in 
recitative  than  in  senarii  as  the  fact  that  it  is  not  an  entrance  part 
excludes  it  from  song.  But,  in  general,  the  very  regularity  of  the 
metrical  structure  makes  these  other  considerations  seem  secondary. 

The  songs  are,  in  the  main,  briefer  and  less  elaborate  in  form  than 
those  of  the  Casina.  It  may  be  noted  that  the  longest  comes  near 
the  beginning  of  the  play  and  the  second  longest  at  the  end  and  that 
the  other  three  are  comparatively  short  and  not  irregular  in  length. 
The  songs  are  not  uniformly  emotional  in  character.  The  song  form 
of  Pseudolus'  triumphant  monody  (574)  heightens  the  expression  of 
joy;  that  of  the  song  scene  at  the  end  of  the  play  (1246)  enhances 
the  atmosphere  of  dissipation  and  hilarity;  that  of  Ballio's  monody 
enlivens  the  scene  and  increases  the  comic  appeal.  The  strongest 
emotion  of  the  play  finds  expression  in  song  form  and  any  expression 
of  emotion  not  in  song  is  found  in  a  non-entrance  part  as  667  ff. 
But  the  monodies  594,  905,  and  1103  are  unemotional.  The  monody 
of  594  ff.  owes  its  song  form  to  the  conventions  of  entrance  technique 
since  it  is  the  entering  monody  of  B,  following  the  entering  monody  of 
A.  The  song  form  of  905  and  1103  may  be  due  merely  to  a  desire  to 
vary  the  meter  and  to  obtain  a  balanced  metrical  structure.  Other- 
wise, as  far  as  their  content  is  concerned,  they  might  have  been 
written  as  well  in  recitative  or  senarii  as  in  song. 

Not  only  do  the  songs  occur  with  a  definite  regularity  in  the 
metrical  structure  of  the  play,  but  they  also  mark  successive  steps 
in  the  advancement  of  the  action.  The  first  song  (133)  ends  the 
preliminary  exposition  and  leads  up  to  the  initiation  of  the  action. 
The  second  song  (574)  is  directly  followed  by  the  first  step  in  the 


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Studies  in  the  Songs  of  Plautine  Comedy 


intrigue,  the  obtaining  of  the  letter.  The  third  song  (905)  leads  up 
to  the  actual  carrying  out  of  the  intrigue.  The  fourth  song  (1103) 
precedes  the  discovery  of  the  intrigue  while  the  fifth  (1246)  is  itself  a 
final  song  of  triumph  over  the  success  of  the  intriguer  and  the  recon- 
ciliation of  victim  and  intriguer.  Song  in  the  Pseudolus,  then,  is  not, 
for  the  most  part,  in  itself  of  real  organic  importance  but  is  used  as -a 
prelude  to  the  successive  phases  of  action.  In  certain  cases,  it 
enhances  the  emotional  tone  and  it  is  successfully  used  by  the  drama- 
tist to  vary  the  manner  of  delivery  throughout  the  whole  play. 

The  Bacchides  has  262  lines  of  song  (21%),  excluding  the  lyrical 
lines  quoted  by  the  grammarians  and  not  found  in  the  extant  manu- 
scripts of  the  play.  Since  the  opening  scenes  are  lacking  in  the 
manuscripts  their  metrical  arrangement  can  only  be  conjectured 
from  the  fact  that  the  fragments  quoted  are  in  senarii  and  lyrical 
meters.  A  comparison  with  other  plays  makes  it  probable  that  the 
Bacchides,  like  the  majority  of  Plautus'  plays,  began  with  senarii; 
these  were  followed  by  song. 

The  play  begins,  according  to  our  manuscript  tradition,  with  a 
dialogue  in  recitative   (35-108).     The   two  sisters,   the   Bacchides, 
tell  the  adulescens,  Pistoclerus,  of  their  difficulties  and  ask  his  help. 
The  Samian  Bacchis,  who  is  subject  to  a  soldier  for  a  year's  service, 
will  have  to  return  to  him  against  her  will,  unless  a  sum  of  money 
is  paid.     While  Pistoclerus  goes  out  to  buy  material  for  a  feast,  his 
absence  is  covered  by  a  short  exit  dialogue  of  the  Bacchides  (101-8). 
Pistoclerus  returns  at  109  with  the  paedagogus,  Lydus,  who  remon- 
strates with  him  in  vain  (109-69  senarii).     At  their  exit  there  enters 
Chrysalus,  the  slave  of  Mnesilochus,  Pistoclerus'  friend.     He  gives 
presuppositions  of  the  plot  in  the  monologue  of  a  returned  traveller 
(170-77  senarii);  Mnesilochus,  who  has  been  in  Ephesus  two  years, 
has  sent  a  letter  to  his  friend,  asking  him  to  find  his  mistress,  Bacchis. 
Pistoclerus,  entering,  tells  Chrysalus  that  Bacchis  has  been  found 
but  that  money  must  be  procured  to  save  her  from  the  soldier  (179- 
234  senarii).  Chrysalus,  thinking  of  a  way  to  get  the  money,  informs 
Nicobulus,  the  father  of  Mnesilochus,  that  they  were  able  to  bring 
back  only  part  of  the  money  for  which  they  had  been  sent  (235-367 
senarii).      At  their  exit,  Lydus  comes  out  of  the  house  of  the  Bac- 
chides, filled  with  horror  at  what  he  has  seen  and  declares  that  he 
will  teU  the  father  of  Pistoclerus  what  is  happening  (368-84,  recita- 
tive).    Then  Mnesilochus,  entering,  reflects  on  how  he  may  escape 
from  his  difficulty  (385-404  recitative).     When  Lydus  returns  with 


Studies  in  the  Songs  of  Plautine  Comedy 


75 


Philoxenus,  the  father  of  Pistoclerus,  Mnesilochus  learns  that 
Pistoclerus  is  in  love  with  Bacchis  (405-99  recitative).  Not  knowing 
that  there  are  two  Bacchides,  he  is  filled  with  bitterness  at  the 
treachery  of  his  friend  and  his  sweetheart  and  decides,  ignoring 
Chrysalus'  plan,  to  give  all  the  money  to  his  father  (500-25  senarii). 
While  he  is  doing  this,  Pistoclerus  enters  and,  on  Mnesilochus' 
return,  the  two  engage  in  conversation.  Mnesilochus  learns  that  his 
friend  is  in  love  with  the  Athenian,  not  the  Samian  Bacchis,  and  they 
enter  the  house  together  (526-72  recitative).  In  the  meantime,  the 
parasite,  sent  by  the  soldier  to  take  away  the  girl  if  money  is  not  paid, 
arrives  and  speaks  a  monologue  (573-83  senarii).  Pistoclerus  comes 
out  and  frightens  him  away  (583-611  senarii). 

Then  Mnesilochus  enters  with  a  monody  (612-25),  the  first 
song  in  the  play,  according  to  our  present  text,  in  which  he  expresses 
his  remorse  at  his  impulsive  act  in  giving  back  the  money.  The 
same  emotion  is  carried  out  in  the  duet  between  the  two  friends  that 
follows  (626-39).  Then  Chrysalus,  ignorant  of  what  Mnesilochus 
has  done,  appears  with  a  joyous,  triumphant  monody  at  the  easy 
solution  of  the  difficulty  (640-70).  The  emotion  of  the  two  monodies 
is  enhanced  by  the  contrast  between  the  remorse  and  self-accusation 
of  the  one  and  the  triumph  and  pride  of  the  other. 

In  the  dialogue  that  follows  (671-760  recitative)  Mnesilochus 
confesses  his  act  and  Chrysalus  thinks  of  a  new  plan.  Mnesilochus 
writes  a  letter  to  his  father,  warning  him  against  Chrysalus,  to  put 
him  off  his  guard.  Chrysalus,  in  a  link  monologue  (761-69  senarii), 
expresses  his  confidence  in  his  ultimate  success.  When  Nicobulus 
enters,  Chrysalus  gives  the  letter  to  him  and  then  proceeds  to  warn 
him  that  his  son  is  in  great  danger  because  of  his  love-affair  with  a 
soldier's  wife.  The  opportune  arrival  of  the  soldier,  determined  to 
take  away  the  girl  unless  he  is  given  money,  adds  verisimilitude  to  the 
story.  Nicobulus,  in  his  fear,  readily  promises  money  and  sends 
Chrysalus  into  the  house  to  remonstrate  with  Mnesilochus  (770-924 

senarii). 

Chrysalus  returns  with  a  long,  triumphant  monody,  rejoicing  at 
the  success  of  his  plans  (925-78),  followed  by  a  duet  with  Nicobulus 
(979-996).  He  reports  on  his  errand  and  gives  him  a  letter  from  his 
son.  The  meter  changes  to  senarii  with  the  reading  of  the  letter  in 
which  Mnesilochus  says  that  he  needs  more  money  as  the  woman 
will  not  leave  him  unless  she  is  given  a  certain  sum.  The  father 
agrees  to  give  it  and  goes  to  the  forum  to  make  arrangements  (997- 
1075  senarii). 


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Meanwhile  Philoxenus  enters  with  a  monody  (1076-86)  expressing 
anxious  concern  for  the  welfare  of  his  son.  Nicobulus,  returning 
from  the  forum,  sings  a  monody  expressing  his  great  chagrin;  he  has 
met  the  soldier  and  learned  of  the  ease  with  which  he  has  been 
tricked  (1087-1103).  The  same  emotion  is  continued  in  the  duet 
that  follows  between  the  two  senes  (1104-19).  Then  the  Bacchides 
appear  and  after  making  sport  of  the  old  men,  succeed  in  winning 
them  over  and  all  four  leave  the  stage  together  (1120-1206  quartette). 
The  atmosphere  of  revelry  again  suggests  the  komos.  The  play 
ends  with  the  short  speech  of  the  grex  (1207-12  recitative). 

The  Bacchides  shows  a  careful  balance  in  the  arrangement  of 
meters:  (a,  c,  ?)  b,  a,  b,  a,  b,  a,  c,  b,  a,  c,  a,  c,  b.     The  last  song  is 
about  equal  in  length  to  the  combined  length  of  the  other  two. 
The  length  of  the  non-song  passage  before  the  first  song  of  our  text 
(612)  is  unusual  but  the  frequent  change  from  recitative  to  senarii 
and  back  to  recitative  helps  to  relieve  the  monotony.     One  of  the  rare 
examples  of  senarii  directly  following  song,  found  in  this  play  (997), 
is  to  be  explained  by  the  conventional  use  of  senarii  for  the  reading  of 
a  letter.     Occasionally,  as  in  the  case  of  the  letter,  the  choice  of 
senarii  or  recitative  for  a  particular  passage  seems  to  result  from  its 
contents.     The  prologizing  character  of  the  prayer  of  the  returned 
traveller,  for  instance,  makes  the  use  of  senarii  natural.     The  mono- 
logue of  Lydus  (368)  that  marks  a  change  from  senarii  to  recitative, 
is  on  a  clearly  higher  emotional  tone  than  the  preceding  scene.     But 
frequently  the  contents  of  a  passage  does  not  explain  the  change  of 
meter.     The  monologue  of  Mnesilochus  shows  that  he  is  emotionally 
excited  (500-25)  and  yet  it  stands  by  itself  in  senarii  between  two 
passages  of  recitative.     The  chief  motive  of  the  dramatist  in  his 
metrical  arrangement  of  recitative  and  senarii  seems  to  have  been 
to  vary  the  manner  of  delivery  at  frequent  intervals. 

The  songs,  on  the  whole,  mark  a  decided  heightening  of  the 
emotional  tone.  The  emotion  of  the  play  reaches  its  highest  point 
in  three  places;  the  remorse  of  Mnesilochus  contrasted  with  the 
premature  triumph  of  Chrysalus  (612-70);  Chrysalus'  second  song  of 
triumph,  now  justified  by  events  (925-78);  the  chagrin  and  shame  of 
the  victim  of  the  intrigue  (1087-1103).  The  monody  of  Philoxenus 
(1076-86)  expresses  a  milder  kind  of  emotion.  Its  song  form  may  be 
due  to  the  conventions  of  entrance  technique,  looking  forward  to  the 
entering  monody  of  B,  and  its  less  intense  emotion  leads  up  to  the 
more  violent  emotion  of  Nicobulus  as  a  climax.     The  duets  of  the 


Studies  in  the  Songs  of  Plautine  Comedy 


77 


play,  which  are  brief  and  follow  the  monodies,  in  two  cases  carry 
out  the  emotion  of  the  preceding  monody  (625-39,  1105-19);  in  one 
case  the  duet  is  not  emotional  (979-96).  The  song  form  of  the  quar- 
tette (1120-1206)  enhances  the  atmosphere  of  dissipation  and  the 

comic  effect. 

In  addition  to  their  regular  place  in  the  metrical  structure  of  the 
play,  the  songs  mark  successive  stages  of  action,  the  disastrous  end 
of  the  first  attempt  (612-70);  the  successful  completion  of  the  second 
(925-96) ;  the  discovery  of  the  intrigue  (1087  ff.).  As  in  the  Pseudolus, 
the  final  reconciliation  is  in  song  form.  The  songs  are,  of  themselves, 
of  little  organic  importance  but  they  are  important  in  marking  the 
emotional  crises  of  the  play  and  in  varying  the  manner  of  delivery. 

The  Mostellaria  has  223  lines  of  song  (20%  of  the  play).  The 
play  begins  with  a  dialogue  scene  (1-83  senarii),  giving  the  presuppo- 
sitions of  the  plot  through  the  conversation  of  two  slaves.  The 
country  slave,  Grumio,  rebukes  Tranio,  the  city  slave,  for  leading 
his  young  master  into  dissipation  during  his  father's  absence.  At 
their  exit  the  adulescens,  Philolaches,  enters  and  sings  a  long  monody 
on  love,  pointing  to  himself  as  an  example  of  its  evil  effects  (84-156). 
Then  the  meretrix  with  whom  he  is  in  love,  comes  on  the  stage  with 
her  ancilla,  Scapha.  Philolaches  overhears  their  conversation  as  the 
girl  adorns  herself  and  listens  to  Scapha's  words  of  advice,  but 
finally  greets  her  and  a  feast  begins  (157-312  recitative).  Then  comes 
a  second  song  as  Callidamates,  Philolaches'  friend,  enters  with  his 
sweetheart.  Intoxicated  and  hilarious,  he  sings  a  monody,  which  is 
followed  by  a  duet  and  then  a  quartette  as  the  friends  greet  each 
other  and  all  join  in  the  drinking  party  (313-47).  These  scenes  are 
all  part  of  the  elaborate  preliminary  exposition  and  lead  up  to  the 
initiation  of  the  action  in  the  next  scene. 

As  they  are  feasting,  Tranio  comes  back  with  the  news  that  Theo- 
propides,  Philolaches'  father,  has  returned  (348-62  recitative).  He 
breaks  up  the  feast  and  sends  the  revellers  into  the  house  (363-408 
recitative)  while  he  tries  to  think  up  a  plan  (409-30  senarii).  At  this 
point  Theopropides  enters  with  the  conventional  monologue  of  a 
returned  traveller  (431-41  senarii).  When  he  goes  up  to  the  house, 
Tranio  greets  him  and  tells  him  a  suddenly  invented  tale— the  house 
is  haunted  (442-531  senarii).  At  this  moment,  the  danista  to  whom 
Philolaches  owes  money,  appears  and  accosts  Tranio  who  finally  con- 
fesses to  Theopropides  that  money  is  due  him,  money,  he  explains, 
which  was  borrowed  to  buy  a  new  house.     When  Theopropides 


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Studies  in  the  Songs  of  Plautine  Comedy 


promises  to  pay,  the  danista  goes  away  (532-654  senarii).  Then 
Theopropides  asks  what  house  was  bought  and  when  Tranio  finally 
tells  him  that  it  was  his  neighbor's  house,  expresses  a  desire  to  see  it 

(655-89  senarii). 

At  this  point,  the  neighbor,  Simo  appears  with  a  monody  on  his 
own  domestic  infelicity  (690-710).  Tranio  goes  up  to  him  and  their 
duet  (711-46)  changes  to  dialogue  when  they  begin  to  converse 
seriously.  Tranio  asks  permission  to  take  his  master  into  Simo's 
house  to  look  at  it  as  a  model  for  one  of  his  own  and  Simo  consents 
(747-74).  Tranio,  after  expressing  his  satisfaction  in  a  monologue 
(775-82  senarii),  reports  on  his  errand  to  Theopropides  (783-803 
duet).  As  they  address  Simo,  the  meter  changes  from  song  to 
recitative.  After  discussing  the  house  in  a  scene  rendered  humorous 
by  the  fun  Tranio  makes  of  the  unconscious  old  men,  Tranio  and 
Theopropides  enter  the  house  (804-57  recitative). 

While  they  are  examining  the  house,  a  slave  comes  to  meet 
Callidamates  and  attend  him  on  his  way  home.  After  a  monody 
on  the  good  and  bad  slave,  (858-84)  he  is  joined  by  a  second  slave; 
their  duet  (885-903)  consists  of  raillery  and  rude  jesting.  Then 
Theopropides  and  Tranio  come  out  and  Theopropides  sends  Tranio 
to  find  his  son.  In  the  meantime,  the  slaves,  knocking  at  the  door, 
attract  Theopropides'  attention  and  by  questioning  them  he  finds 
out  the  trick  that  has  been  played  upon  him  (904-92  recitative). 
His  suspicions  are  confirmed  by  Simo  who  arrives  opportunely 
(993-1040  senarii).  As  Theopropides  goes  to  obtain  lorarii,  Tranio 
returns  with  a  monologue  (1041-63  recitative)  and  takes  refuge  on 
an  altar  when  Theopropides  enters.  Then  Callidamates  comes  in 
and  finally  succeeds  in  obtaining  forgiveness  for  Philolaches  and 
even  for  Tranio  (1064-1181  recitative). 

The  Mostellaria  has  a  succession  of  a,  c,  b,  c,  b,  a,  c,  a,  c,  b,  c,  b,  a, 
b.  The  longest  song  is  at  the  beginning  but  the  songs  do  not  vary 
greatly  in  length.  The  play  is  unusual  in  having  one  of  the  three 
cases  of  non-entrance  duet  found  in  the  twenty  plays  (783-803. 
See  pp.  9f.).  It  also  has  one  of  the  seven  cases  of  senarii  directly 
following  song  (747-82),  here  a  short  passage  (35  lines)  separating 
two  songs,  the  second  of  which  is  the  non-entrance  duet.  There 
is  no  apparent  reason  for  the  use  of  senarii  rather  than  the  more 
usual  recitative  for  this  passage  (cf.  p.  9).  As  might  be  expected, 
then,  from  these  peculiarities,  the  play  shows  a  less  regular  arrange- 
ment of  senarii,  recitative  and  song,  than  some  others. 


Studies  in  the  Songs  of  Plautine  Comedy 


79 


In  certain  passages,  recitative  seems  to  give  a  higher  emotional 
pitch  than  senarii;  for  instance,  the  excited  scene  in  which  Tranio 
tells  of  the  return  of  Theopropides  and  breaks  up  the  feast  (348-408) 
is  in  recitative  which  changes  to  senarii  when  Tranio,  left  alone, 
reflects  on  the  situation  (409-30).  On  the  other  hand,  the  triumphant 
link  monody  of  Tranio  (775-82)  is  in  senarii  and  Theopropides  is  still 
excited  and  annoyed  at  the  discovery  of  the  trick  when  the  meter 
changes  from  recitative  to  senarii  at  993.  The  underlying  motive, 
then,  in  the  metrical  arrangement  of  recitative  and  senarii  seems  to 
be  the  desire  for  variety  in  delivery. 

The  songs  are  not  uniformly  emotional.  The  first  monody  (84) 
expresses  the  remorse  of  the  young  lover;  the  second  song  gives  an 
atmosphere  of  hilarity  and  dissipation  (cf.  Pseud.  1246  ff.;  Pers.  753 
ff.).  The  other  three  songs  are  not  emotional.  The  monody  of  Simo 
may  be  in  song  merely  to  give  a  pleasing  variety  in  the  manner  of 
delivery;  it  follows  a  succession  of  recitative  and  senarii  and  separates 
two  passages  of  senarii.  The  duet  (783-803)  might  have  been  in 
either  senarii  or  recitative,  as  far  as  its  content  is  concerned,  but  its 
unusual  position  as  a  non-entrance  song  separated  by  only  a  few 
lines  from  the  preceding  song  probably  had  all  the  charm  of  the  unex- 
pected. The  song  form  of  the  song  of  the  slaves  (858-903)  may  well 
have  increased  the  audience's  enjoyment  of  it;  the  movement  which 
accompanied  it,  the  rude  witticisms  and  horseplay  of  the  duet,  prob- 
ably acted  as  a  relief  after  the  more  subtle  humor  of  the  preceding 
scene. 

The  content  of  the  songs  is  of  little  importance  for  the  action 
of  the  play.  The  monody  of  Philolaches  (84)  and  the  feasting  scene 
(313)  are,  it  is  true,  important  parts  of  the  rather  elaborate  prelimi- 
nary exposition  and  the  duet  (783)  is  of  some  organic  importance  as 
Tranio  reports  on  his  interview  with  Simo.  But  the  monody  of  Simo 
(690)  and  the  songs  of  the  slaves  (858)  are  entirely  unessential  and 
irrelevant  though  they  do  bring  on  the  stage  characters  needed  for 
the  action  of  the  next  scene.  The  first  two  songs  belong  to  the 
preliminary  exposition;  the  third  and  fourth  (690,  783)  are  concerned 
with  the  advancement  of  the  intrigue  and  the  fifth  (858)  directly 
precedes  the  denouement. 

The  drinking  scene  (313  ff.)  Leo  assigns  to  the  Greek  origin  a 
in  its  musical  form  as  he  does  not  think  the  Roman  dramatist  would 
have  heightened  the  purely  Greek  atmosphere  of  revelry  by  giving 
it  a  song  form.     Aside  from  this  scene  and  the  opening  monody  (84) 


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Studies  in  the  Songs  of  Plautine  Comedy 


the  value  of  the  songs  lies,  not  in  enhancing   the  emotional   tone, 
but  in  varying  the  succession  of  recitative  and  senarii  by  the  gayer 

and  livelier  element  of  song. 

The  Amphitriio  has  220  lines  of  song  (20%  of  the  play).  It 
begins  with  a  prologue  spoken  by  Mercury,  giving  the  pre-supposi- 
tions  of  the  plot.  While  Amphitruo  is  at  war,  Jupiter,  taking  his 
form,  has  made  love  to  his  wife,  Alcumena.  Mercury  has  himself 
taken  the  form  of  the  slave,  Sosia. 

Then  the  real  Sosia,  Amphitruo's  slave,  enters  with  a  monody. 
He  has  been  sent  to  inform  Alcumena  of  her  husband's  immediate 
return  and  to  tell  her  of  the  battle.  In  practising  his  speech,  he 
gives  a  detailed  account  of  the  battle,  while  Mercury,  listening, 
makes  aside  comments  (153-262).  The  monody  changes  to  mono- 
logue without  an  apparent  change  in  feeling.  When  Mercury 
confronts  him  in  his  own  form,  he  is  amazed  and  retreats  to  the 
harbor  in  terror  (263-462  recitative).  Mercury,  after  a  prologizing 
monologue  (463-98  sen.),  leaves  the  stage  and  Alcumena  and  Jupiter 
(as  Amphitruo)  enter.  Jupiter,  saying  that  he  must  return  to  the 
army,  says  farewell  to  Alcumena  (449-550  rec). 

At  their  exit,  the  real  Amphitruo  and  Sosia  appear,  singing  a  duet. 
Amphitruo  does  not  believe  Sosia's  strange  story  of  a  double  (551-85) ; 
the  duet  becomes  dialogue  without  apparent  change  in  emotion 
(586-632  recitative).     As  they  cross  the  stage,  Alcumena  comes  out  of 
the  house,  singing  of  her  ill-fortune  in  having  her  husband  depart  so 
soon  (633-53).     When  she  sees  Amphitruo  she  does  not  understand 
his  sudden  return  and  he,  greatly  amazed  and  disturbed  by  her 
story,  seeks  his  friend  Naucrates  before  acting  upon  his  suspicions 
(654-860  recitative).     At  their  exit,  Jupiter  still  disguised  as  Amphi- 
truo appears  with  a  prologizing  monologue  (861-81  senarii)  and  when 
Alcumena,  entering,  complains  at  her  husband's  accusations  (882- 
90),  assures  her  that  they  were  not  seriously  meant  (891-955  senarii). 
He  gives  orders  to  Sosia  (956-73  recitative)  and  to  Mercury  (974-83 
senarii).     Mercury  then  sings  a  monody,  a  parody  of   the  servus 
currens   monody,   explaining   future   action    (984-1005   song,  1006-8 
senarii).     Amphitruo  returns  after  a  vain  search  for  Naucrates  (1009- 
20  recitative)  and  a  dialogue  follows  between  Amphitruo  at  the  house 
door  and  Mercury  on  the  roof  (1021-34  recitative).     Here  several 
pages  of  the  archetype  are  lost.     At  the  end  of  the  lacuna,  Blepharo, 
evidently  called  in  to  decide  on  the  identity  of  Amphitruo,  declares 
that  he  cannot  settle  the  point.     Amphitruo,  angry,  tries  to  get  into 
the  house  but  falls,  stricken  by  a  thunderbolt  (1035-52  recitative). 


Studies  in  the  Songs  of  Plautine  Comedy 


81 


As  he  lies  unconscious,  the  ancilla,  Bromia,  comes  out  of  the 
house  in  great  terror,  relating  in  a  monody  the  miraculous  birth  of 
Hercules  (1053-75).  Amphitruo  is  aroused  (1076-85  song)  and 
hears  her  strange  story  (1086-1130  recitative).  At  this  point  Jupiter 
appears  in  his  true  form,  explains  the  mystery  and  proclaims  the  inno- 
cence of  Alcumena  (1131-43  senarii).  Amphitruo  agrees  to  forgive 
his  wife  (1144-6  recitative). 

The   lacuna   following    1034   makes    the    metrical   arrangement 
of  the  play  uncertain  but  it  seems  to  be  as  follows:  acbabcbcb 
a  b  a  c  b  a  (?)  b  c  b  a  b.  The  irregular  arrangement  of  recitative  and  sen- 
arii is  obvious  at  once.  The  sparing  use  of  senarii  is  noteworthy.    Aside 
from  the  prologue,  there  are  only  four  passages  of  senarii  most  of 
which  are  very  short  (not  including  the  three  lines  of  senarii  with 
which  the  monody  of  Mercury  ends  (1006-8)  or  the  fragments  in  sen- 
arii after  1034).     One  passage  is  of   10  lines  (974-83),    one  of  13 
(1131-43),  one   of    36  (463-98),   and    the   longest   of  95    (861-955). 
The  content  of  these  passages  of  senarii  shows  a  certain  similarity; 
463-98  is  the  prologizing  monologue  of  Mercury;  861-81,  the  prolo- 
gizing monologue  of  Jupiter;  974-83,  Jupiter's  directions  to  Mercury, 
begin  with  two  lines  which  are  evidently   a  direct   address  to   the 
audience  (cf.  similarly  1006-8);  1131-43    is  the    speech  of    Jupiter 
as  deus  ex  machina.     The  prologizing  monologue  of  Jupiter  is  followed 
by  the  emotional  monologue  of  Alcumena  (882-90)  and  their  dialogue 
(891-955)  which  is  the  only  dialogue  in  the  play  in  senarii  (with 
the  exception  of  the  fragmentary  passage).     In  short,  recitative  and 
song  seems  to  be  used  to  such  an  extent  as  almost  to  limit  senani 
to  prologizing  passages. 

In  the  use  of  song,  the  tragic  prototype  of  the  Amphitruo  is 
apparent.  The  background  of  the  tragic  messenger  is  clear  m  the 
case  of  the  monodies  of  both  Sosia  (153)  and  Bromia  (1053),  and  the 
monody  of  Alcumena,  lamenting  her  misfortunes,  is  in  true  tragic 
vein.  The  messenger  speech  of  Greek  tragedy,  of  which  Sosia's 
monody  (153)  is  clearly  an  imitation,  was  in  iambic  trimeter.  The 
reason  for  the  song  form  of  Sosia's  monody  may  be  that  Sosia, 
frightened  at  the  darkness  and  loneliness,  sings  to  keep  up  his  courage. 
The  monody  of  Bromia  (1053)  on  the  other  hand,  though  it  narrates 
essential  action,  is  highly  emotional  and  for  that  reason  more  effective 
in  song  form.  (Cf.  the  monody  of  the  Phrygian,  Orest.  1369.)  So 
also  the  song  form  of  Alcumena's  monody  (633)  heightens  the  force 
of  the  emotion. 


82 


Studies  in  the  Songs  of  Plautine  Comedy 


In  contrast  with  these  songs  which  betray  the  tragic  background 
of  the  Amphiiruo,  the  other  two  songs,  the  duet  of  Amphitruo  and 
Sosia  on  the  mistaken  identities  (551)  and  Mercury's  humorous  mon- 
ody (984),  may  have  been  put  into  song  through  a  desire  to  lighten 
by  gayer,  livelier  material,  the  seriousness  of  the  environing  scenes. 
Too  great  solemnity  and  seriousness  would  be  dangerous  for  a  comedy 
and  must  be  relieved  in  some  way.  Song,  when  accompanied  by 
lively  movement,  is  especially  suited  for  this  purpose.  Sosia's 
monody  (153)  may  have  been  written  in  song  rather  than  senarii 
for  this  reason,  i.  e.,  as  a  parody  of  the  speech  of  the  tragic  messenger 
intended  to  amuse  the  audience,  instead  of  as  a  serious  imitation  of  it. 
The  songs  vary  in  organic  importance.  Sosia's  monody  (153) 
narrates  purely  unessential  action;  the  duet  of  Amphitruo  and  Sosia 
(551)  is  concerned  with  the  less  serious  part  of  the  play,  the  double 
identity  of  Sosia  and  Mercury;  Alcumena's  monody  (633)  is  merely  a 
burst  of  emotion,  setting  the  stage  for  the  dialogue  which  follows; 
Mercury's  monody  (984)  might  be  entirely  omitted  without  injury 
to  the  play.  Bromia's  monody  (1053) ,  on  the  other  hand,  is  important 
as  giving  essential  action,  the  real  denouement. 

The  Amphitruo,  then,  seems  to  use  song  not  so  much  to  vary 
the  manner  of  delivery  at  regular  intervals  as  to  heighten  the  emotion 
and  intensify  the  tragic  element  (633,  1053)  or  to  relieve  the  serious- 
ness of  the  play  by  lighter,  purely  amusing  passages. 

The  Persa  begins  with  song,  two  brief  entrance  monodies  followed 
by  a  duet.  The  first  monody,  that  of  the  slave,  Toxilus,  is  on  the 
theme  of  love  (1-6);  the  second,  the  monody  of  his  friend  Sagaristio, 
is  on  the  subject  of  the  good  and  bad  slave  (7-12).  These  monodies 
are  cited  as  the  only  clear  example  of  responsion  in  Latin  comedy; 
they  are  equal  in  length  and  have  the  same  metrical  structure. 
They  serve  merely  as  an  unessential  prelude  to  the  duet  (13-42),  in 
which  the  presuppositions  of  the  plot  are  given.  Toxilus  tells  his 
friend  of  his  need  of  money  to  purchase  a  meretrix  with  whom  he  is 
in  love  and  asks  him  for  help.  The  duet  changes  to  iambic  septen- 
arii  (43-52)  without  any  apparent  change  in  feeling. 

Their  exit  is  followed  by  the  entrance  of  Saturio  who  delivers  a 
professional  parasite's  speech  (53-80  senarii).  Toxilus,  who  has  in 
the  meantime  thought  up  a  plan,  asks  the  parasite  to  let  them  use 
his  daughter  in  the  intrigue.  She  is  to  be  disguised  as  a  slave  and 
sold  to  the  leno;  then  when  her  free  birth  is  proved,  the  leno  will  be 
punished  by  the  loss  of  his  money.  After  demurring  a  little,  the 
parasite  consents  (81-167  sen.). 


Studies  in  the  Songs  of  Plautine  Comedy 


83 


While  preparations  are  being  made,  the  action  comes  almost 
to  a  standstill.  Sophoclidisca,  an  ancilla,  comes  on  the  stage  with 
a  monody  addressed  to  her  mistress  in  the  house  (168-82).  The 
monody  is  unemotional  and  not  essential  except  as  it  throws  some 
light  on  the  love-affair.  Toxilus  then  comes  out  with  a  letter  for  his 
mistress  which  he  gives  to  the  slave  boy,  Paegnium,  to  carry.  The 
dialogue  between  Toxilus  and  Paegnium  and  Paegnium  and  Sopho- 
clidisca consists  of  unessential  raillery  and  abuse  (183-250  recitative). 

Sagaristio  returns  to  the  stage  with  a  joyous  monody  (251-71); 
he  has  succeeded  in  obtaining  the  necessary  sum  by  appropriating  the 
money  given  him  by  his  master  to  buy  cattle.  He  asks  Paegnium 
where  Toxilus  is.  After  a  few  lines  of  abuse  (272-9)  the  duet 
changes  to  recitative  (280-301). 

Toxilus  enters  with  Sophoclidisca  and  Sagaristio  tells  him  of  his 
scheme.  They  decide  to  continue  the  intrigue  to  obtain  money  with 
which  to  pay  back  Sagaristio's  master  (302-28  recitative). 

At  their  exit,  the  parasite  and  his  daughter  enter  talking.  The 
girl  rebukes  her  father  for  yielding  to  the  plan  (329-99  senarii). 
When  they  withdraw,  Dordalus,  the  leno,  appears  and  when  Toxilus 
gives  him  the  money,  goes  off  to  arrange  for  the  liberation  of  the  girl 
(400-48  senarii).  In  the  meantime,  Toxilus  speaks  a  link  monologue 
and  gives  final  directions  to  Sagaristio  (449-69  senarii). 

Dordalus  returns  from  the  forum  with  a  link  monody  expressing 
his  satisfaction  at  his  good  fortune  (470-79).  When  he  tells  Toxilus 
that  the  girl  is  freed,  Toxilus,  in  return,  gives  him  a  letter  supposed 
to  be  from  his  master,  offering  a  girl  for  sale  (duet  480-500).  The 
letter  is  in  senarii  and  the  dialogue  that  follows,  in  recitative  (501-12, 
520-27  senarii,  513-19,  528-48  recitative).  At  this  point  Sagaristio, 
in  disguise,  appears  with  the  parasite's  daughter  who  is  masquerading 
as  a  foreign  slave.  Dordalus  and  Toxilus,  at  first,  listen  to  the 
conversation,  then  Dordalus,  completely  deceived,  agrees  to  buy  the 
girl  (549-672  recitative).  While  he  retires  to  get  the  money, 
Toxilus  gives  further  directions  to  Sagaristio  (673-82  senarii). 
Dordalus  pays  for  the  girl  (683-710  senarii)  and  again  goes  into  the 
house  while  Toxilus  warns  Saturio  of  the  part  he  must  play  (711-30 
senarii).  When  Dordalus  returns,  Toxilus  leaves  the  stage  and 
Saturio  rushes  out,  claims  the  girl  as  his  daughter  and  drags  Dor- 
dalus off  to  court  (731-52  senarii). 

The  play  ends,  as  it  began,  with  song  (753-858).     Toxilus,  enter- 
ing with  his  mistress  and  Sagaristio,  sings  a  song  of  triumph  at  his 


84  Studies  in  the  Songs  of  Plautine  Comedy 

success.  Then  preparations  for  the  feast  are  ordered  in  a  trio  (766- 
76)  At  this  point  Dordalus  enters,  with  a  monody,  expressing  his 
chagrin  and  grief  at  his  loss  (777-89).  The  play  ends  with  a  very 
lively  scene,  the  feasters  make  sport  of  Dordalus,  dance  and  make 
merry  (790-858).  The  song  form  greatly  enhances  the  atmosphere 
of  hilarity  and  dissipation,  as  in  the  komos  of  Old  Greek  Comedy 

The  metrical  arrangement  of  the  play  is  as  foUows:  c  b  a  c  b  c  b 
a  c  a  b  a  b  a  c.  The  longest  song  is  at  the  end,  the  other  songs  are 
all  brief  One  of  the  few  examples  of  senarii  directly  followmg  song 
occurs  in  this  play  (501  5.)  in  the  reading  of  the  letter.  This  conven- 
tional use  of  senarii  for  the  reading  of  lelters  helps  to  explam  the 
rather  unusual  metrical  structure  of  this  non-song  passage  (501-753), 
for  the  senarii  of  the  letter  alternate  with  the  recitative  of  the  dia- 
logue. The  change  from  recitative  to  senarii  and  from  senarii  to 
recitative  seems,  on  the  whole,  to  be  marked  only  by  a  desire  o 
vary  the  delivery.     The  play,  except  for  certam  songs,  is  decidedly 

unemotional.  .  -^fj^'o 

Some  of  the  songs  express  very  strong  emotion.     Sagaristio  s 
monody  (251)  is  a  prayer  of  joyful  thanksgiving  though  the  expression 
of  gratitude  is  followed  by  a  narrative  of  essential  action,  Dordalus 
monodv  (470)  expresses  the  complacent  self-satisfaction  of  the  later 
victim.'    In  the  last  song  sequence  the  monody  of  Toxilus  rejoicmg 
at  his  success,  is  contrasted  with  the  monody  of  Dordalus  lamentmg 
his  ill-fortune.     (For  a  similar  heightening  of  emotion  by  two  con- 
trasted songs  cf.   Bac.   612  ff.)     Dordalus    chagrm   (777   ff.)   also 
contrasts  with   the   self-satisfaction   of   his   earlier   monody    (470)^ 
The  song  with  which  the  play  opens,  however,  i^;^^;^^ ^^f  ^  ^f 
there  is  no  strong  emotion  in  Sophoclidisca's  monody  (168-82).      i he 
song  form  of  the  f^rst  may  be  due  merely  to  the  desire  to  begin  the 
play  with  song  rather  than  the  more  usual  senarii;  of  the  second,  to  a 
desire  to  varv  the  manner  of  delivery.     A  large  part  of  the  song  of 
this  play  Leo  thinks  was  in  the  Greek  original,  the  case  of  responsion 
at  the  beginning  of  the  play  (1-12)  and  the  komos-like  scene  o  revelry 
at  the  end  (753  ff.),  and  he  is  ready  to  admit  the  possibihty  that  still 
more  of  the  song  appeared  as  song  in  the  Greek. 

Song  has  a  greater  organic  importance  in  this  play  than  m  most 
of  the  others.  The  first  song  gives  the  presuppositions  of  the  plot 
(13-42);  the  third  (251  ff.)  contains  narrative  of  essential  off-stage 
action  The  slight  narrative  element  of  the  monodies  of  Dordalus 
(470  and  777),  however,  consists  of  facts  easily  guessed  by   the 


Studies  in  the  Songs  of  Plautine  Comedy 


85 


audience.  The  artistic  value  of  the  song  as  song  consists  in  the 
enhancing  of  emotion  (251,  470,  753,  777)  and  the  heightening  of  the 
atmosphere  of  revelry  and  dissipation.  In  addition  to  this,  it  varies 
the  manner  of  delivery  but  only  in  the  first  two  songs  (1  and  168) 
does  this  seem  to  be  the  only  motive  for  the  song  form. 

The  Rudens  has  180  lines  of  song  (13%  of  the  play).  It  begins 
with  a  prologue  (1-82  senarii),  giving  the  presuppositions  of  the  plot. 
Daemones  has  lost  his  daughter,  who  finally  has  come  into  the  hands 
of  a  leno.  A  young  Athenian,  falling  in  love  with  her,  has  arranged 
to  buy  her  but  the  leno  sets  sail  with  her,  breaking  the  appointment 
at  a  temple  which  he  has  made  with  the  youth,  and  is  shipwrecked 
near  the  temple.  The  next  scene  opens  with  a  monologue  by  the 
slave,  Sceparnio  (83-88  senarii).  His  master,  Daemones,  comes  on 
the  stage  and  the  youth,  Plesidippus,  who  has  come  to  keep  his 
appointment,  asks  if  they  have  seen  the  leno.  After  Plesidippus 
leaves  the  stage,  Sceparnio  exclaims  at  seeing  two  girls  coming  to 
shore  from  a  shipwreck  (89-184  senarii). 

At  the  exit  of  the  men.  Palaestra  enters  singing  of  her  despair 
and  loneliness  (185-219);  her  monody  is  followed  by  the  monody  of 
her  companion,  Ampelisca,  in  like  vein  (220-28).  The  two  meet 
(duet  229-58)  and  at  the  entrance  of  a  priestess  ask  help  from  her 

(259-89  trio). 

After  the  women  go  into  the  temple,  a  group  of  fishermen  come 

on    with    a   monologue    (290-305    recitative),    complaining   of    their 

hardships.     Trachalio,  the  slave  of  Plesidippus,  entering,  asks  if  they 

have  seen  his  master  or  the  leno  (306-30  recitative).     At  their  exit, 

Ampelisca,  appearing,  tells  Trachalio  what  has  happened  and  he 

enters  the  temple  (331-403  recitative).     Ampelisca  proceeds  on  her 

errand  for  water  and  calls  forth  Sceparnio,  who  goes  off  to  get  the 

water  for  her  (404-41  recitative).     Then  she  sees  the  leno  coming 

and  runs  off  (442-57  senarii)  so  that  Sceparnio  has  to  take  the  water 

into  the  temple  himself  (458-84  senarii).     Labrax,  the  leno,  and  his 

friend,  Charmides,  enter  blaming  each  other  for  their  misfortune 

(485-558  senarii).     At  the  return  of  Sceparnio  they  learn  that  the 

girls  are  in  the  temple,  Labrax  goes  in  (559-70  recitative),  and  after  a 

few  jesting  remarks  Sceparnio  and  Charmides  also  leave  the  stage. 

Then  Daemones,  entering,  tells  of  his  dream  (593-614  senarii).     At 

this  point,  Trachalio  rushes  out  of  the  temple  in  great  excitement 

to  call  for  help  (615-26  recitative)  and  tells  Daemones  of  the  leno's 

rough  treatment  of  the  girls  (627-63  recitative). 


86 


Studies  in  the  Songs  of  Plautine  Comedy 


While  Daemones  goes  into  the  temple,  Palaestra  together  with 
Ampelisca  rushes  out,  expressing  her  terror  in  a  monody  (664-75). 
Her  duet  with  Trachalio  (676-81)  changes  to  recitative  after  the 
preliminary  greeting  (682-705).  Daemones  brings  Labrax  out  of  the 
temple,  puts  him  under  guard  while  Trachalio  looks  for  his  master 
(706-79  recitative)  and  then  himself  leaves  the  stage  (780-838  senarii). 
Plesidippus  returns  with  Trachalio  and  drags  Labrax  off  to  court 
(839-91  senarii).  Daemones  comes  on  the  stage  to  speak  a  mono- 
logue, which  introduces  his  slave  Gripus,  and  at  once  retires  (892-905 

senarii). 

Gripus,  entering,  sings  a  joyous  monody  of  thanksgiving,  telling 
how  he   found   a   chest,   while   fishing    (906-37).     Then  Trachalio 
appears  and  claims  a  share  of  the  treasure.     Their  duet  (938-62) 
changes    to    recitative    as    the    dispute    becomes   serious    (963-1044 
recitative).     They  finally  agree  to  lay  the  matter  before  Daemones, 
who  comes  on  the  stage  with  the  girls.     When  Trachalio  declares  that 
the  chest  contains  Palaestra's  crepundia,  by  which  her  free   birth 
may  be  proved,  an  examination  is  made  and  Daemones  finds  that 
Palaestra  is  his  lost  daughter  (1045-1190  recitative).     They  leave 
the  stage  and  Daemones  shortly  returns  with  a  monologue,  rejoicing 
at  his  good  fortune  and  eager  to  inform  Plesidippus  (1191-1204  sen- 
arii).    He  sends  Trachalio  in  search  of  his  master  (1205-26  recitative). 
Gripus  urges   Daemones   to   conceal    the   chest    (1227-64    senarii). 
Plesidippus  enters  with  Trachalio,  delighted  at  the  news  (1265-80 
recitative).     Labrax  returns,  lamenting  his  misfortune  in  losing  the 
girl  (1281-7  recitative).     He  learns  from  Gripus  of  the  recovery  of 
the  chest  and  promises  him  a  talent  if  he  will  restore  it  to  him  (1288- 
1337).     As  Gripus  makes  him  repeat  after  him  an  oath,  the  meter 
changes  to  senarii  (1338-56).     Daemones  gives  Labrax  his  property 
but,  when  the  latter  refuses  to  give  Gripus  the  promised  talent,  per- 
suades him  to  free  Ampelisca  and  to  give  him  a  half-talent  which 
will  secure  Gripus'  freedom  (1357-1423  recitative). 

The  play  consists  of  a  succession  of  a,  c,  b,  a,  b,  a,  b,  c,  b,  a,  c,  b, 
a,  b,  a,  b,  a,  b.  The  longest  of  the  three  songs  comes  near  the  begin- 
ning; the  second  song  is  brief  and  the  third  somewhat  longer.  The 
frequency  with  which  the  meter  changes  in  this  play  is  especially  to 
be  noted,  sometimes  after  passages  of  only  about  twenty  lines  (14  lines 
sen.  1191-1204;  19  lines  sen.  1338-56;  22  lines  recitative  1205-26). 
In  certain  cases  the  change  of  meter  seems  justified  by  the  character 
of  the  coming  scene,  as  for  instance,  the  change  from  senarii  to  reci- 


Studies  in  the  Songs  of  Plautine  Comedy 


87 


tative  for  the  emotional  monologue  of  Trachalio  (615),  and  the  excited 
dialogue  of  Plesidippus  and  Trachalio  (1265)  or  the  change  from 
recitative  to  senarii  for  the  narration  of  the  dream  (593),  Daemones' 
prologizing  monologue  (1191),  or  the  repetition  of  the  oath  (1338). 
But  in  other  cases,  no  reason  for  the  sudden  change  of  meter  is 
apparent  except  a  desire  to  vary  the  manner  of  delivery.  The 
meter  changes  most  frequently  in  the  unusually  long  non-song 
passage  at  the  end  of  the  play  (460  lines). 

The  songs  of  the  Rudens  are  all  highly  emotional.  The  monodies 
of  Palaestra  and  Ampelisca  (185,  220)  express  their  bitter  grief  at 
their  misfortune,  an  emotion  which  continues  in  the  duet  and  trio 
(228-89).  The  second  monody  of  Palaestra  (664)  shows  her  helpless 
terror.  The  monody  of  Gripus  (906),  in  contrast,  expresses  the 
greatest  joy  and  most  optimistic  hopes.  But  as  the  Rudens  is  an 
unusually  emotional  play,  the  songs,  though  they  mark  the  important 
emotional  crises,  do  not  include  all  the  emotion  which  the  action  of 
the  play  calls  forth.  Trachalio's  appeal  for  help,  for  instance,  and  the 
victim's  expression  of  chagrin  are  in  recitative  (615,  1281),  and  Dae- 
mones expresses  his  pleasure  at  his  daughter's  recovery  in  senarii 
(1191).  But  the  very  coldness  and  ineffectiveness  of  the  monologues 
as  expressions  of  emotion  show  why  monodies  were  used  to  enhance 
emotional  force.  (Cf.,  for  instance,  the  monologue  and  monody  on 
the  same  theme:  Rud.  1281,  Pers.  777.) 

The  organic  importance  of  the  songs  differs.  The  first  song 
(185)  plays  an  important  part  in  the  preliminary  exposition;  the 
second  is  merely  a  burst  of  emotion  which  shows,  incidentally,  the 
development  of  the  action,  the  third  narrates  essential  off-stage 
action.  The  value  of  the  songs,  as  a  whole,  consists  in  the  heighten- 
ing of  emotion  and  in  thus  furnishing  an  almost  tragic  background 

for  the  play. 

The  Menaechmi  has  141  lines  of  song  (12%  of  the  play).  It 
opens  with  a  prologue  (1-76)  giving  the  presuppositions  of  the  plot. 
One  of  two  brothers  (Menaechmi)  was  stolen  as  a  child  and  finally 
came  to  live  in  Epidamnus.  The  other  brother,  the  Syracusan 
Menaechmus,  going  to  look  for  his  brother,  comes  to  Epidamnus. 
The  prologue  is  followed  by  the  professional  speech  of  a  parasite, 
Peniculus  (77-109  senarii).  Menaechmus  I  (Epidamnian)  comes 
out  with  a  monody  railing  against  his  wife  for  her  curiosity  (110-34). 
He  tells  Peniculus  of  his  theft  of  a  palla  from  his  wife  for  the  meretrix, 
Erotium,  who,  appearing,  is  directed  to  prepare  a  feast  (135-218 


88 


Studies  in  the  Songs  of  Plautine  Comedy 


recitative).     When  the  men  go  off  to  the  forum,  Erotium  sends  her 
cook  to  market  and  returns  to  the  house  (219-25  recitative).     Then 
the  Syracusan  Menaechmus  (II)  enters  with  his  slave,  Messenio, 
(226-72  senarii).     When  the  cook  returns  he  mistakes  Menaechmus 
II  for   Menaechmus   I    (273-350).     Erotium,   coming   out   with   a 
monody,  giving  directions  for  the  feast  (351-68),  makes  the  same 
mistake;  Menaechmus  II  is  mystified  but  accompanies  her  mto  the 
house,  to  the  distress  of  Messenio  (369-445  recitative).     Peniculus 
returns  from  the  forum  with  a  monologue  (446-65  recit.)  and  as  he 
is  rebuffed  by  Menaechmus  II  when  the  latter  comes  out  of  the  house, 
goes  off  in  anger  to  tell  his  wife  (466-523  senarii).     Meanwhile  a 
maid  comes  out  to  give  Menaechmus  certain  ornaments  to  have 
mended,  in  addition  to  the  palla,  which  he  has  already  promised  to 
have  fixed  (524-58).     At  his  exit,  Peniculus  enters  with  the  wife  of 
Menaechmus  I,  who  is  angry  at  his  news  (559-70  senarii).     Then 
Menaechmus  I  comes  in  with  a  monody  on  the  evils  of  the  client 
system,  explaining  his  delay  (571-601).     His  wife  accuses  him  of 
stealing  her  palla  and  finally  he  agrees  to  get  it  back  (604-74  recit.). 
He  asks  Erotium  for  the  palla  when  she  comes  out  but  she  is  very 
indignant,  thinking  that  she  has  already  given  it  to  him  (675-700 
recit.).     At  his  exit  Menaechmus  II  appears  and  meets  the  wife 
of  Menaechmus  I.     When  he  does  not  recognize  her,  she  sends  for 
her  father  (701-52  senarii).  .    u      -  -i 

The  old  man  enters  with  a  monody,  complaining  of  the  evils 
of  old  age  (753-74).     When  Menaechmus  II  persists  in  his  strange 
actions,  they  conclude  that  he  is  mad  and  he  finaUy  feigns  insanity 
(775-871   recit.).     While  the  old  man  goes  for  a  doctor  and  the 
woman  goes  into  the  house,  Menaechmus  II  escapes  (872-81  senarii). 
When  the  senex  and  doctor  return  (882-98  senarii),  they  meet  Men- 
aechmus I,  who  cannot  understand  why  they  think  that  he  is  mad 
(899-956  recitative).     After  the  senex  departs  to  get  servants  (956-65 
recitative),  Messenio  enters  with  a  monody  on  the  good  and  bad 
slave  (966-89).    When  the  senex  returns  with  slaves,  who  attempt  to 
carry  off  Menaechmus  I  (990-1007  song),  Messenio  rushes  to  the  aid  of 
his  supposed  master.     In  return,  Menaechmus    readUy  agrees^  to 
proclaim  free  the  slave  who  does  not  belong  to  him  (1008-38  recit.). 
After  a  brief  interval  covered  by  Menaechmus'  monologue  (1039-49 
recit.)  Messenio  returns  with  Menaechmus  II,  who  denies  that  he  has 
freed  him  (1050-59  recit.).     At  this  point,  the  two  brothers  meet  and 
by  their  mutual  recognition   the   confusion  is  cleared  (1060-1162 
recit.) 


Studies  in  the  Songs  of  Plautine  Comedy 


89 


The  metrical  arrangement  of  the  Menaechmi  is  as  follows:  a,  c,  b, 
a,  c,  b,  a,  c,  b,  a,  c,  b,  a,  b,  c,  b.  The  play  shows  a  remarkable  balance 
and  symmetry  in  its  metrical  structure.  The  first  song  is  preceded 
by  senarii  and  the  last  succeeded  by  recitative  as  always.  The 
songs  are  divided  by  a  passage  of  recitative  followed  by  a  passage  of 
senarii  except  for  the  fourth  and  fifth  songs.  There  a  second  pas- 
sage of  recitative  follows  the  senarii.  The  songs  do  not  differ  greatly 
in  length  and  divide  the  play  into  passages  of  approximate  length 
(109,  216,  202,  149,  191,  154).  There  seems  to  be  very  little  differ- 
ence in  emotional  tone  between  senarii  and  recitative,  though  the 
professional  speech  of  the  parasite  is,  as  always,  in  senarii  (77  ff.) 
and  the  rather  excited  tone  of  the  dialogue  of  Menaechmus  I,  the 
senex,  and  the  doctor  may  explain  why  in  this  one  place  senarii 
change  to  recitative  before  song  (899-965  recitative). 

The  songs  are,  as  a  whole,  unemotional,  which  may  partly  be 
explained  by  the  fact  that  the  action  gives  opportunity  for  the 
display  of  little  emotion  beyond  the  irritation  felt  by  certain  charac- 
ters and  the  bewilderment  of  them  all;  i.e.,  no  strong  emotion  is 
expressed  either  in  the  songs  or  outside.  The  first  song,  the  monody 
of  Menaechmus  I  (110)  expressing  his  anger  against  his  wife,  is  the 
only  one  which  is,  in  any  degree,  emotional. 

The  songs  are,  in  the  main,  irrelevant  and  of  little  organic  impor- 
tance. The  monody  of  Menaechmus  I  (110)  is  the  most  essential 
since  it  is  a  real  part  of  the  preliminary  exposition,  and  the  song  of 
Erotium  (351)  is  not  unrelated  to  the  action,  but  the  other  three 
songs  are  all  on  topical  themes,  the  client  system  (571),  the  evils  of 
old  age  (753)  and  the  good  and  bad  slave  (966),  entirely  irrelevant 
subjects  which  retard  rather  than  advance  the  action.  All  the  songs, 
however,  bring  on  the  stage  characters  needed  for  the  next  scene. 
They  are  all  monodies  and  with  the  exception  of  the  last  (966), 
which  is  followed  by  a  second  monody  and  a  duet  (990-1007),  units 
in  themselves.  The  irrelevant  and  unemotional  character  of  the 
songs,  together  with  the  symmetrical  and  balanced  metrical  struc- 
ture of  the  play,  makes  it  seem  possible  that  in  the  Menaechmi  there 
was  a  conscious  attempt  to  use  song  as  a  means  for  attaining  balance 
and  variety  in  the  manner  of  delivery. 

The  Captivi  begins  with  a  prologue  (1-68  senarii)  giving  the  pre- 
suppositions of  the  plot.  Hegio  had  had  one  of  his  sons  stolen  as  a 
child  and  sold  as  a  slave  to  a  man  in  Elis,  who  gave  him  under  the 
name  Tyndarus  to  his  son  Philocrates.     When  his  second  son  was 


90 


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captured  in  a  war  with  Elis,  Hegio  bought,  as  prisoners  for  exchange, 
Philocrates  and  Tyndarus.     In  order  to  make  possible  Philocrates 
escape,   the   two   exchange   places;   Philocrates  becomes   the   slave 
and  Tyndarus  the  master.     The  prologue  is  followed  by  the  profes- 
sional monologueof  the  parasite,  Ergasilus  (69-109  senarn),  who,  when 
Hegio  appears,  succeeds  in  getting  an  invitation  for  dinner  from  him 
( 1 10-94  senarii) .     When  they  withdraw,  Philocrates  and  Tyndarus,  m 
their  exchanged  roles,  come  out  with  the  /.ram  and  in  a  private 
interview  impress  on  each  other  the  need  of  caution  (duet  195-239 
changing  to  recitative  240-50  without  apparent  change  m  feelmg). 
Hegio,  returning,  arranges  to  have  Philocrates  exchanged  for  his  son, 
who  happens,  as  he  finds,  to  be  in  the  possession  of  Philocrates 
father   (251-360  recitative).     Philocrates,  the  pseudo-Tyndarus,  is 
sent  off  to  make  the  arrangements  and  thus  escapes  (361-84  senarn, 
385-460  recitative).     While  Ergasilus  goes  to  see  whether  any  of  his 
other  captives  know  Philocrates,  the  parasite  returns  with  an  unes- 
sential monologue  on  his  fruitless  search  for  a  dinner  (461-9/  reci- 

^^^'negio  returns  with  a  monody,  rejoicing  because  he  has  found  a 
captive  who  can  identify  Philocrates  (498-515).     As  they  enter  the 
house  Tyndarus  rushes  out  with  a  second  monody  (516-39),  alarmed 
at  the  unavoidable  discovery  of  the  intrigue.     When  Aristophontes 
says  that  he  is  not  Philocrates  but  the  slave  Tyndarus,  Tyndarus 
tries  to  convince  Hegio  that  Aristophontes  is  mad  but  finally  Hegio 
sees  that  he  has  been  tricked  (540-658  recitative)  and  calling  out  his 
lorarii,  he  sends  Tyndarus  off  to  the  stone-quarries  (659-767  senarn). 
While  he  is  taking  Aristophontes  back  to  his  brother's,  Ergasilus  sings 
a  monodv,  rejoicing  at  his  good  news,  (768-80),  which  is  followed  by 
Hegio's  monody,  lamenting  his  folly  (781-89).     Ergasilus  continues 
with  a  servus  currens  monologue  (790-832  recitative),  interrupted  by 
the  aside  comments  of  Hegio.      Then  they  greet  each  other  m  a  few 
lines  of  song  (833-7),  which  changes  after  the  first  greetings  to  recita- 
tive (838-900),  as  Ergasilus  tells  Hegio  that  his  captured  son  has 
returned  and  also  the  slave  who  stole  his  other  child.     When  Hegio 
leaves  for  the  harbor,  Ergasilus  expresses   his  joy  at  bemg  left  m 
charge  of  the  pantry  (901-8  recitative).     His  exit  is  followed  almost 
immediately  by  the  entrance  of  a  slave  who  tells  what  havoc  Erga- 
silus is  working  (909-21  recitative)  .  u  •  f 
Hegio,   returning   with   his   son   and   Philocrates,   smgs   a   briet 
prayer  of   thanksgiving   (922-27).     He  has  to   tell  Philocrates  that 


Studies  in  the  Songs  of  Plautine  Comedy 


91 


Tyndarus  is  in  the  stone-quarry  but  sends  for  him  (928-53  recitative). 
In  the  meantime  he  talks  with  the  slave  Stalagmus,  who  stole  his 
child,  and  finally  learns  that  Tyndarus  is  his  lost  son  (954-97  reci- 
tative). Tyndarus,  on  his  return,  is  told  the  news  and  the  slave 
is  properly  punished  (998-1028  recitative).  The  play  ends  with  an 
address  to  the  audience  (1029-36  recitative). 

The  metrical  scheme  of  the  Captivi  is  as  follows:  a,  c,  b,  a,  b,  c, 
bacbcbcb.  The  change  from  recitative  to  senarii  does  not 
always  coincide  with  the  exit  or  entrance  of  a  character.  For  instance, 
when  Hegio  turns  from  Philocrates  to  address  Tyndarus  (361)  the 
meter  changes  from  recitative  to  senarii  and  then  a  few  lines  later 
(385)  changes  back  to  recitative  as  the  emotion  deepens  with  the 
final  farewell.  At  the  entrance  of  the  lorarii  (657),  the  meter  changes 
from  recitative  to  senarii  without  apparent  change  of  feeling.  Senarii 
play  a  small  part  in  the  Captivi,  only  two  passages,  one  of  which 
(361-84)  is  very  short,  besides  the  prologue  and  the  professional 
parasite's  speech  at  the  beginning. 

The  124  lines  of  song  are  divided  into  five  songs.  The  unusual 
brevity  of  the  last  two  songs  must  be  noted.  The  shortest  song 
(833-7)  is  one  of  the  three  examples  in  Plautus  of  duets  sung  after 
entrance  in  the  middle  of  a  scene.  It  resembles  very  closely  in  content 
the  short  recognition  duets  that  often  follow  entrance  monodies, 
changing  to  recitative  after  the  preliminary  greets,  but  is  separated 
from  the  entrance  monodies  by  the  servus  currens  monologue  of  Er- 
gasilus in  recitative  (790-832). 

The  songs  are,  with  certain  exceptions,  emotional,  and  in  two 
cases  the  emotion  is  enhanced  by  the  contrast  between  two  successive 
monodies.  Hegio's  joyful  monody  is  contrasted  with  Tyndarus' 
dismayed  and  frightened  song  (498,  516).  The  joyful  monody  of 
Ergasilus  is  contrasted  with  the  gloomy,  disconsolate  monody  of 
Hegio  (768,  781).  There  is  a  still  further  contrast  between  the  two 
monodies  of  Hegio,  the  one  showing  premature  satisfaction  (498), 
and  the  other  the  chagrin  of  the  victim  of  the  intrigue  (781),  both 
in  bacchiac  meter,  and  the  latter  standing  between  the  triumphant 
monody  of  Ergasilus  (768)  and  his  former  discouraged  monologue 
(461).    Hegio's  prayer  song  at  the  return  of  his  son  also  expresses 

emotion. 

The  duets,  in  contrast  with  the  emotional  monodies,  are  unemo- 
tional. The  short  duet  833-7  is  hardly  anything  more  than  the  duet 
ordinarily  following  entrance  monodies,  the  monologue  in  recitative 


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being  really  parenthetical.  The  song  form  of  the  duet  195  is  probably 
due  to  its  position  in  the  play  directly  after  the  expository  scene  m 
senarii,  for  song  follows  the  opening  senarii  in  the  plays  of  Plautus 
with  striking  regularity. 

The  organic  importance  of  the  songs  varies;  the  first  duet  (195) 
emphasizes  the  fact  of  the  change  of  roles  and  initiates  the  action; 
the  monody  of  Hegio  gives  information  of  action  which  eventually 
leads  to  the  discovery  of  the  intrigue  (505-14).  But,  in  general,  the 
songs  are  merely  emotional  outbursts,   musical  preludes  which  set 

the  tone  for  the  next  scene. 

The  value  of  the  songs  of  the  Captivi,  then,  is  their  service  in 
enhancing  emotion.  They  also  vary  the  delivery  at  somewhat 
irregular  intervals  but  in  the  case  of  only  one  song  (195)  does  the 
desire  to  vary  the  manner  of  delivery  seem  to  be  the  only  reason 

for  its  song  form.  .   . 

The  Epidicus  opens  with  song,  a  duet  between  two  slaves,  giving 
the  presuppositions  of  the  plot.  Thesprio,  the  slave,  returning  with 
his  master,  Stratippocles,  meets  his  fellow-slave,  Epidicus,  and  tells 
him  that  his  master,  falling  in  love  with  a  captive  girl,  borrowed 
money  to  buy  her  and  now  is  in  trouble  because  he  cannot  pay  the 
danista.  Epidicus  is  much  disturbed  because,  in  accordance  with 
Stratippocles'  directions,  he  had  bought  the  fidicina  with  whom  the 
latter  had  formerly  been  in  love.  After  Thesprio's  exit  (80), 
Epidicus  in  an  exit  monody  (81-98  song,  99-103  recitative)  adds  the 
fact  that  in  order  to  get  money,  he  has  made  Periphanes,  Stratip- 
pocles' father,  believe  that  the  girl  is  his  daughter. 

At  his  exit,  Stratippocles  comes  in,  telling  his  friend,  Chaeribulus, 
of  his  great  need  of  money  and  finally  Epidicus  tells  them  that  he 
will  secure  the  necessary  sum  (104-65  recitative).  When  they 
withdraw,  the  two  old  men,  Periphanes  and  his  friend,  Apoecides, 
enter  with  a  duet.  The  latter  urges  his  friend  to  carry  out  his 
desires  and  marry  the  mother  of  the  girl  who  is,  as  he  thinks,  in  the 
house  (166-80).  Then  Epidicus  returns  with  a  triumphant  monody 
(181-89)  and  proceeds  to  try  out  on  the  old  men  the  plan  he  has  de- 
vised. He  tells  them  that  Stratippocles  is  in  love  with  a  fidicina 
and  wishes  to  buy  her  and  suggests  that  Periphanes  anticipate  him 
by  buying  the  girl  himself.  They  readily  agree  to  the  plan  (190-305 
recitative).  Epidicus  lingers  behind  to  deliver  a  triumphant  mono- 
logue (306-19).  Stratippocles  and  Chaeribulus  enter,  lamenting 
in  a  duet  (320-36)  their  failure  to  secure  money.     Epidicus,  returning 


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93 


with  a  monody  that  changes  to  recitative  (337-40  song,  341-45 
recitative),  informs  them  of  his  successful  plan.  He  tells  them  that 
he  intends  to  have  Apoecides  bring  back  a  girl  hired  for  a  festival 
(346-81  recitative). 

Periphanes  enters  with  a  monologue  (382-95  senarii),  which  is 
followed  by  the  entrance  of  Apoecides  with  2i  fidicina  (396-424  sen.). 
As  the  girl  goes  into  the  house,  Periphanes  congratulates  himself 
on  the  good  service  of  his  friend  (425-436  senarii).  Just  then  the 
soldier  who  wishes  to  buy  the  first  fidicina  (the  one  with  whom 
Stratippocles  had  first  been  in  love)  appears  and  Periphanes  readily 
brings  forth  the  second  fidicina.  But  when  the  soldier  fails  to  recog- 
nize her,  Periphanes  sees  that  Epidicus  has  played  a  trick  on  him 
(437-525  senarii). 

At  this  point,  Philippa,  the  woman  by  whom  Periphanes  has  had 
a  daughter,  entering,  sings  a  monody  lamenting  the  loss  of  her 
daughter  (526-31).  As  they  recognize  each  other,  they  sing  a  duet 
(532-46),  which  changes  to  recitative  as  they  address  each  other. 
Periphanes  assures  Philippa  that  her  daughter  is  in  the  house  but 
when  the  first  fidicina  is  brought  out  and  Philippa  says  that  it  is 
not  her  daughter,  Periphanes  realizes  the  second  deception  (547-606 
recitative). 

As  he  goes  off  to  find  Epidicus,  Stratippocles  enters  and  after  him 
Epidicus,  who  realizes  that  the  intrigue  is  discovered.  When  the 
danista  arrives  with  the  captive  girl  whom  Stratippocles  has  bought, 
Epidicus  recognizes  her  as  the  daughter  of  Periphanes  and  Stratip- 
pocles' sister.  When  the  old  men  appear,  ready  to  punish  him,  he 
claims  all  the  credit  of  the  daughter's  discovery  and  so  receives  a 
reward  rather  than  punishment  (607-733  recitative). 

The  metrical  structure  of  the  play  shows  a  fairly  well  balanced 
arrangement:  c,  b,  c,  b,  a,  c,  b,  a,  c,  b.  The  change  from  recitative 
to  senarii  for  Epidicus'  brief  triumphant  monologue  (306-19)  is 
evidently  caused  by  a  desire  to  vary  the  manner  of  delivery.  Aside 
from  this  brief  passage  there  is  only  one  other  passage  of  senarii 
(382-525).  The  four  songs,  except  for  the  first  which  is  compara- 
tively long,  are  short  and  do  not  differ  greatly  in  length.  The 
passages  into  which  the  play  is  divided  by  the  songs  are  of  about  the 
same  length  except  for  the  unusually  short  interval  between  the 
first  two  songs  (66,  230,  184,  187).  The  preponderance  of  duet  over 
monody  in  this  play  is  noteworthy;  three  of  the  four  songs  begin  with 
a  duet  which  is  followed  by  a  briefer  monody. 


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Studies  in  the  Songs  of  Plautine  Comedy 


95 


The  songs  differ  as  to  the  expression  of  emotion.  The  monody 
of  Philippa  expresses  deep  grief  (526)  and  Epidicus  sings  a  brief 
triumphant  monody  (181).  Stratippocles'  duet  with  Chaer.bu^us 
portrays  his  anxious  concern  but  the  first  two  songs  (1  and  166) 

are  quite  unemotional.  .  .        , 

The  first  song  is  of  organic  importance  in  giving  the  presupposi- 
tions of  the  plot;  the  second  song  (166)  adds  certain  new  elements; 
the  third  (320)  is  unessential  in  content  but  fills  a  time  interval  and 
brings  on  the  stage  characters  needed  for  the  next  scene;  the  fourth 
(526)  introduces  a  necessary  character  and  gives  the  desired  emotional 

tone  to  the  next  scene.  ,    .  ,  ,       .. 

The  songs  of  the  Epidicus,  then,  in  certain  cases  heighten  the 
emotional  effect  (526,  181)  but  serve,  mainly,  the  purpose  of  varying 
the  meter  at  certain  fairly  regular  intervals. 

The  Trucukntus  begins  with  a  prologue  which  merely  states  the 
general  character  of  the  play  (1-21).  It  is  followed  by  the  prologizing 
monologue  of  Diniarchus,  who  inveighs  against  meretrtces  in  general 
and  Phronesium  in  particular.  Though  he  has  had  her  favor  for 
some  time,  he  is  now  cast  aside  for  a  returning  lover,  a  soldier.  In 
order  to  get  money  from  the  latter,  she  is  pretending  that  she  has 
borne  him  a  child  (22-94  senarii). .  ■      ,qc  ,  m 

Astaphium,   the   ancilla,   comes  out  with  a  monody  (95-111), 
warning  her  mistress  (in  the  house)  against  the  thieving  character  of 
lovers      Her  duet  with  Diniarchus  (112-29)  after  the  first  words  of 
greeting  changes  to  recitative  (130-208).    He  complains  that  he  has 
spent  all  his  money  on  Phronesium,  and  Astaphium,  confirming  the 
story  of  the  child,  sends  him  into  the  house.    At  his  exit,  she  sings  a 
second  monody  (209-55)  on  the  folly  of  lovers  who  expect  favor 
after  their  money  is  gone.     Then,  continuing  on  her  errand  to  find 
Strabax,  a  lover  from  the  country,  she  meets  his  slave,  Truculentus, 
who  in  answering  her  questions,  lives  up  to  his  name  (256-321  reci- 
tative)     On  her  return,  Diniarchus,  who  has  been  waiting  impa- 
tiently, asks  her  to  go  in  and  summon  Phronesium  (322-51  senani). 
Phronesium,  on  her  entrance,  tells  him  that  the  child  is  supposititious, 
intended  to  get  money  from  the  soldier  (352-433  senarii).     After  she 
returns  to  the  house  and  Diniarchus  goes  off  with  an  exit  monologue 
(434-47  senarii),  Phronesium  returns,  in  her  assumed  role  of  mother, 
singing  a  monody  on  the  anxieties  of  motherhood,  taking  the  audience 
into  her  confidence  as  to  the  trick  she  is  playing  (448-64  song  465-81 
recitative). 


i 


The  soldier  now  enters  with  a  characteristically  boastful  speech 
(482-98  recitative).  He  learns  of  the  birth  of  the  child  and  presents 
Phronesium  with  gifts  which  she  regards  as  inadequate.  At  this 
point,  Cyamus,  a  slave  of  Diniarchus,  enters  with  a  line  of  slaves 
carrying  the  purchases  made,  singing  a  monody  on  the  avaricious 
nature  of  meretrices  (551-77).  In  the  song  that  follows,  Phronesium 
accepts  the  gifts  graciously,  to  the  great  rage  of  the  soldier,  who  fright- 
ens off  Cyamus  (578-630).  Phronesium,  going  into  the  house  at 
once,  leaves  the  soldier  in  a  state  of  bewilderment.  He  goes  off 
with  an  exit  monologue  (631-44  senarii). 

Strabax,  the  country  youth,  entering,  tells  in  a  monologue  that 
he  has  been  kept  in  the  country  by  his  father.  He  is  sent  into  the 
house  by  Astaphium  (645-68  senarii).  Truculentus,  then,  appearing 
tells  Astaphium  that  his  disposition  has  changed  and  he  is  ready 
to  make  love  to  her  (669-98  senarii).  Diniarchus  enters  rejoicing 
at  the  news  that  his  gifts  have  been  accepted  with  favor  (699-710 
recitative).  Astaphium,  coming  out  of  the  house  with  a  monody 
(711-18),  again  warning  her  mistress  to  be  careful,  tells  Diniarchus 
that  Strabax  is  now  in  her  mistress's  favor.  The  duet  (719-29) 
changes  to  recitative  after  a  few  lines  (730-57  recit.).  Diniarchus  is 
left  on  the  stage,  meditating  revenge  (758-74  recitative). 

The  senex,  Callicles,  enters  with  two  ancillke  whom  he  questions 
in  regard  to  the  child  whom  his  daughter  has  borne.  He  learns  that 
the  child  has  been  given  to  Phronesium  for  her  use  and  that  Diniar- 
chus is  its  father.  Diniarchus  agrees  to  marry  the  girl  Phronesium, 
learning  of  the  identity  of  the  child,  succeeds  in  getting  Diniarchus 
to  let  her  keep  it  for  three  days  to  get  more  money  from  the  soldier. 
When  Strabax  and  the  soldier  enter,  playing  them  off  against  each 
other,  she  invites  them  both  inside  (775-968  recitative). 

The  metrical  scheme  of  the  Truculentus  is  as  follows:  a,c,b,c,b,a, 
c,b,c,a,b,c,b.  The  unusual  irregularity  of  the  metrical  arrangement 
is  obvious.  The  play  contains  one  of  the  few  cases  of  senarii  directly 
following  song.  At  the  end  of  the  heated  duet  between  Cyamus  and 
the  soldier,  when  Cyamus  hastily  departs,  the  meter  changes  from 
song  to  senarii  (631)^  The  sudden  change  of  meter  may  indicate  the 
reversal  of  feeling  between  the  excited  dispute  and  Phronesium's 
calm  and  collected  words. 

The  play  also  contains  one  of  the  few  cases  of  non-entrance  song, 
the  only  non-entrance  monody  (209-55).  After  her  conversation 
with  Diniarchus  and  his  exit,  Astaphium,  turning  to  the  audience, 


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sings  an  unemotional  link  monody  on  the  general  topic  of  the  foUy 

of  lovers. 

In  three  cases  the  play  contains  exceptions  to  the  ordinary  con- 
ventions of  entrance  technique,  the  preference  for  a  succession  of 
monologue,  monologue  or  monody,  monody  to  that  of  monologue, 
monody  or  monody,  monologue.  The  entrance  monologue  of  A  is 
twice  followed  by  the  entrance  monody  of  B.  In  the  first  case,  the 
monologue  of  A  is  natural  since  it  is  really  a  prologue  (22);  the  second 
case  is  more  remarkable  as  the  emotional  monologue  of  A  is  followed 
by  the  non-emotional  monody  of  B  (699).  The  emotional  force  of 
the  monologue  is,  however,  increased  by  the  change  from  the  pre- 
ceding senarii  to  recitative.  In  one  case  (448)  the  entrance  monody 
of  A  is  followed  by  the  entrance  monologue  of  B  (the  monody  changes 
to  recitative  before  its  close  465). 

The  monodies  of  the  Truculentus  are,  with  the  possible  exception 
of  the  feigned  emotion  of  Phronesium's  monody  (448),  entirely 
unemotional.  They  are  unessential,  though  not  entirely  irrelevant, 
since  they  throw  some  light  on  the  general  situation.  Four  deal 
with  the  topic  of  the  relations  between  meretrices  and  their  lovers; 
three  sung  by  the  ancilla  (95,  209,  711)  from  the  point  of  view  of  the 
meretrix,  one  sung  by  the  slave  from  the  point  of  view  of  the  lover 

In  general,  the  dramatist  seems,  in  his  use  of  song,  to  be  moved 
by  a  desire  to  break  the  ordinary  conventions  and  to  bring  in  startling 
novelties.  The  appearance  of  the  same  topic  in  different  songs 
gives  the  play  a  certain  unity  of  theme. 

The  Trinummus  begins  with  a  prologue  giving  in  dialogue  form 

the  name  and  theme  of  the  play.     It  is  followed  by  a  short  monologue 

of    Megaronides    (23-38    senarii),    then    the    entrance    of    Callicles 

by  a  dialogue  which  gives  the  presuppositions  of  the  plot  (39-222 

senarii).     Megaronides  rebukes  Callicles  because,  in  the  absence  of 

his  friend,  Charmides,  he  has  bought  his  house  and  thus  given  his  son, 

Lesbonicus,  more  money  to  squander.     Callicles  explains  that  it  was 

to  save  the  treasure  in  the  house  from  Lesbonicus  that  he  bought 

it.     Lysiteles,  at  their  exit,  enters  with  a  monody  on  the  theme  of 

love,   telling  of  his  own  sufferings   (223-75).     His  father,   Philto, 

entering,  gives  his  son  advice  in  a  solo  (276-300).     Lysiteles  tells  his 

father  that  he  wishes  to  marry  a  certain  girl  but  that  her  brother  will 

not  allow  it  since  he  cannot  give  her  a  dowry  (301-91  recitative). 

At  his  exit,  Philto  comments  on  the  situation  in  a  monologue  (392-401 


Studies  in  the  Songs  of  Plautine  Comedy 


97 


senarii).    Lesbonicus  enters  conversing  with  his  slave,  Stasimus,  on 
his  penniless  condition  and  tells  Philto  that  he  will  give,  as  a  dowry, 
his  oQe  remaining  field  (402-601  senarii).     Stasimus  tells  Callicles 
that  the  marriage  arrangements  have  been  made  and  Callicles  goes 
off  to  find  a  means  of  providing  a  dowry  (602-26  recitative).   Lysiteles 
refuses  to  accept  the  field  which  Lesbonicus  offers  and  Lesbonicus 
refuses  to  allow  the  marriage  of  his  sister  without  a  dowry  (627-728 
recitative).     Callicles  and  his  friend,  Megaronides,  arrange  a  plan 
for  providing  the  dowry;  a  messenger  is  to  come  pretending  to  bring 
money  from  Lesbonicus'  father  (729-819  senarii) .     While  a  sycophant 
is  being  hired  for  this  purpose,  the  father,  Charmides,  returning 
unexpectedly,  sings  a  monody,  thanking  the  gods  for  his  safe  return 
(820-42).     Then  the  sycophant  appears  and  after  considerable  con- 
fusion learns  the  identity  of  Charmides  (843-997  recitative).     Char- 
mides speaks  a  monologue,  in  perplexity  (998-1007  senarii),  and  then 
when   Stasimus  enters  with  a  servus  currens  monologue   (1008-58 
recitative)   learns   that  his  friend   Callicles  has  bought  his  house 
(1059-92   recitative).     Callicles   explains    the   situation    (1093-1114 
senarii).      Lysiteles  enters,  singing  a  brief  monody  at  the  good  news 
of  Charmides'  return  (1115-19  song  20-24  recitative).     In  the   last 
scene  the  confusion  is  cleared  up  and  the  marriage  arranged  (1125-89 

recitative).  ..  ^    ,         a 

The  metrical  scheme  of  the  play  is  remarkably  well  balanced: 
a,  c,  b,  a,  b,  a,  c,  b,  a,  b,  a,  c,  b.  The  use  of  senarii  for  such  short  passages 
as  998-1007  and  1093-1114  may  possibly  be  due  to  a  desire  to  obtam 

this  metrical  symmetry. 

The  songs  are  all  monodies,  units  in  themselves,  except  for  the 
first  (223),  which  is  followed  by  what  is  practically  a  second  entrance 
monody  (279-300).  They  vary  considerably  in  length.  They  are 
all  emotional,  the  first  portraying  the  wretchedness  of  the  young 
lover  (223),  the  second  the  gratitude  of  the  returned  traveller  (820), 
the  third  the  joy  of  the  young  lover  at  his  prospective  escape  from 
difficulty  (1115).  The  first  and  third  express  contrasted  emotions  of 
the  same  person.  The  songs  are  of  little  organic  importance,  merely 
bring  on  the  stage  characters  needed  for  the  next  scene,  and  give 
the  emotional  tone  for  the  dialogue  that  follows. 

In  the  Trinummus,  then,  the  dramatist  seems  to  have  combmed 
the  use  of  songs  to  vary  the  manner  of  delivery  with  their  use  to 
heighten  the  emotional  tone  at  important  emotional  crises. 


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The  Aulularia  begins  with  a  prologue  (1-39)  spoken  by  the  Lar, 
who  has  helped  Euclio  find  a  pot  of  gold  that  it  might  be  used  as  his 
daughter's  dowry.  She  has  been  ravished  during  a  festival  by  a 
youth  whose  identity  she  does  not  know.  The  miser  Euclio  in 
great  distress  for  the  safety  of  his  gold  comes  out  talking  to  his 
anciUa,  Staphyla,  and  finally  goes  off  to  the  forum  (40-119  senarii). 

Then  Megadorus,  a  neighbor,  enters  singing  a  duet  with  his 
sister,  Eunomia,  who  urges  him  to  marry.     He  answers  that  he  is 
ready  to  marry  Euclio's  daughter,  even  though  she  is  poor.     (The 
duet  120-60  changes  to  recitative  161-77  without  apparent  change  in 
tone.)     When  Euclio  returns  from  the  forum,  he  asks  him  for  his 
daughter's  hand.     Euclio  consents,  provided  no  dowry  is  asked,  and 
Megadorus  departs  to  make  preparations  for  the  wedding  (178-267 
recit.).     Euclio  tells  the  news  to  Staphyla  who  is  in  distress  as  his 
daughter's  condition  is  still  unknown  to  Euclio  (268-79  recitative). 
The  slave,  Strobilus,  comes  back  with  the  cooks  and  after  an  exchange 
of  jokes  sends  one  to  the  house  of  Megadorus  and  one  to  Euclio's 
(280-370  senarii).     Euclio  returns  from  the  forum  with  the  humble 
purchases  that  he  has  made  for  the  wedding  (371-89  senarii).     Hear- 
ing a  noise,  he  rushes  into  the  house  to  rescue  his  treasure  (391-405 
sen.) .     In  a  moment,  the  cook  runs  forth,  crying  for  help  in  a  monody 
(406-14).     An    excited    duet    with    the    suspicious    Euclio    follows 
(415-44).     Euclio,   assuring   himself   of   the   safety  of  his   treasure 
(445-48  monody-monologue  of  cook),  sends  the  cook  off   (449-59 
recitative).     He  remarks  on  his  narrow  escape  (460-74  recitative) 
and  listens  with  approval  to  Megadorus'  long  harangue  on  the 
extravagance    of    women    (475-536    senarii).     The    two    converse, 
Euclio  complaining  of  Megadorus'  arrangements  (537-86  recitative). 
The  slave  of  Lyconides,  the  youth  who  is  in  love  with  Euclio's 
daughter,  enters  with  a  monologue  on  the  good  and  bad  slave  (587- 
607  recitative).     He  overhears  Euclio's  plan  to  hide  the  gold  in  the 
temple  of  Fides  and  decides  to  steal  it,  but  Euclio,  returning,  catches 
him  and  accuses  him  of  stealing  the  jar  (608-60  recitative).     Euclio 
goes  off  to  find  a  new  hiding  place  and  the  slave  determines  to  fol- 
low  him  (661-81   senarii).     Lyconides  enters  with  his  mother,  to 
whom  he  has  told  his  story.     The  cries  of  the  girl,  in  childbirth,  are 
heard  within  the  house  and  Eunomia  promises  to  help  them  (682-700 

senarii).  .     i.-j     -^ 

The  slave  appears  with  the  gold  and  hastens  away  to  hide  it 

(701-12  senarii).     Then    Euclio    enters    singing    a    monody,    much 


Studies  in  the  Songs  of  Plautine  Comedy 


99 


distressed  at  the  loss  of  his  gold  (713-26).  Lyconides,  overhearing 
him,  thinks  the  girl's  secret  is  discovered  (727-30  monody).  After  a 
conversation  full  of  mutual  misunderstanding,  Euclio  learns  the 
relations  between  Lyconides  and  his  daughter  and  that  he  desires  to 
marry  her  (731-807  recitative).  As  Euclio  goes  into  the  house,  the 
slave  comes  out  rejoicing  at  his  good  fortune  and  tells  his  master 
what  he  has  found  (808-31  recitative).  Here  the  piay  ends  abruptly 
as  part  of  the  archetype  has  been  lost. 

The  Aulularia  has  a  well-balanced  metrical  scheme:  a,  c,  b,  a,  c, 
b,  a,  b,  a,  c,  b.  The  songs  differ  in  length.  The  first  song  (120)  is 
quite  unemotional.  Its  song  form  seems  due  merely  to  the  desire 
to  have  a  song  follow  the  opening  scenes  in  senarii.  The  monody  of 
the  cook  (406-12)  is  emotional  and  the  duet  which  it  introduces 
(415-44)  is  also  extremely  excited.  One  reason  for  the  song  form  here 
may  have  been  a  desire  to  heighten  the  comic  effect.  The  monody 
of  Euclio  (713)  lamenting  the  loss  of  his  gold,  is  highly  emotional. 

The  first  song  is  distinctly  organic  since  it  initiates  the  action, 
the  second  is  unessential,  mere  humorous  by-play,  the  third  song  is 
an  emotional  outburst,  directly  connected  with  the  main  action. 

Song,  then,  in  the  Aulularia  serves  various  purposes.  It  increases 
the  emotional  force  (406,  713),  heightens  the  comic  effect,  and  helps 
to  bring  about  a  symmetrical  balance  and  variety  of  delivery. 

The  Stichus  opens  with  song,  a  duet  between  two  sisters  giving 
the  presuppositions  of  the  plot.  As  their  husbands  have  been  away 
from  home  for  three  years,  their  father  wishes  them  to  marry  again 
but  they  do  not  wish  to  do  so  (1-47;  48-57  a  variant  scene  in  senarii, 
see  p.  8).  Their  father  Antipho  enters,  directing  his  slaves  and 
deliberating  on  his  daughters'  marriage  (58-87  recitative).  He  dis- 
cusses the  subject  with  them  and  learns  of  their  loyalty  to  their 
husbands  (88-148  recitative).  Panegyris  sends  the  ancilla,  Croco- 
tium,  to  summon  the  parasite,  Gelasimus  (149-54  recitative).  Gelas- 
imus  enters  with  the  conventional  speech  of  a  parasite  (155-233 
senarii)  and  learns  from  Crocotium  that  Panegyris  has  sent  for  him 

(234-73  senarii). 

At  this  point,  the  puer,  Pinacium,  rushes  in  with  the  monody  of  a 
servus  currens  (274-314).  The  song  changes  after  the  first  greetings 
to  Gelasimus  and  then  to  Panegyris  (315-30)  to  recitative  (331-401) 
as  Pinacium  tells  Panegyris  of  the  arrival  of  her  husband.  The 
latter  enters  at  their  exit,  with  the  prayer  of  a  returned  traveller 
(402-18  senarii).     He  gives  his  slave,  Stichus,  permission  to  spend 


100 


Studies  in  the  Songs  of  Flautine  Comedy 


the  day  in  feasting  (419-53  senarii) .  When  the  parasite  enters  the  hus- 
band avoids  giving  the  dinner  invitation  which  is  sought  (454-504 
senarii)  Antipho  and  the  husband  of  the  second  sister  come  on  the 
stage  conversing  and  are  joined  (523)  by  Epignomus.  The  brothers 
assure  their  father-in-law  that  he  will  be  given  the  tibicina  he  desires 
(505-78  recitative)  but  make  sport  of  Gelasimus  and  refuse  the 
invitation  which  he  seeks  (579-640  recitative). 

The  slave,  Stichus,  comments  with  impatience  on  the  delay  of 
his  friend,  Sangarinus,  who  then  appears  with  the  prayer  of  a  returned 
traveller.  Stichus  anticipates  the  joys  of  the  feast  and,  greetmg  his 
friend,  takes  him  into  the  house  (641-72  sen.).  Stephanium  comes 
out  to  inform  the  audience  of  the  preparations  bemg  made  (673-82 
recit )  Then  with  the  entrance  of  Sangarinus  and  Stichus  the  feast 
begins  Stephanium  is  called  out  of  the  house  and  the  merriment 
continues  (683-761  recitative).  The  music  stops  while  the  tibtcen 
is  given  a  drink  (762-68)  and  then  the  play  ends  with  a  brief  song, 
accompanied  by  dancing  (769-75). 

The  metrical  scheme  of  the  play  is  c  (a?)  b,a,c,b,a,b,a,b,a,c. 
Omitting  the  senarii  after  the  first  song  (48-57)  as  a  variant  version, 
the  play  shows  a  remarkably  well  balanced  arrangement  of  meters 
though  the  passage  between  the  first  and  second  song  is  only  about 
half  as  long  as  that  between  the  second  and  third.  Some  facts  as  to 
the  use  of  senarii  and  recitative  may  be  noted:  the  professional 
monologue  of  the  parasite  (155)  and  the  prayers  of  the  returned 
travellers  (402,  649),  are  in  senarii.  Of  special  interest  is  the 
scene  in  senarii  towards  the  end  of  the  play  (762-8),  in  which  the 
meter  changes  from  recitative  to  senarii  as  the  tibicen  stops  playing 
to  drink.  The  feast  is,  for  the  most  part,  in  recitative  (683  ff.)  but 
Stichus'  anticipation  of  the  joys  of  the  feast  (655-59)  comes  m 
senarii,  as  a  part  of  a  longer  passage  in  that  meter  (641-7  2) . 

The  first  song  is  unemotional,  the  second  expresses  the  joy  of  a 
servus  currens  (274),  the  third  heightens  the  hilarity  of  the  feast  (769) 
as  a  climax  at  the  end  of  the  play.  The  last  song  is  one  of  the  few 
songs  which  Leo  thinks  was  song  in  the  Greek  because  the  song  form 
enhances  the  atmosphere  of  dissipation.  The  songs  are  of  httle 
organic  importance  except  for  the  first  which  gives  the  presupposi- 
tions of  the  plot.  The  motive  for  the  use  of  song  seems  to  be  m  two 
cases  the  heightening  of  emotion  as  well  as  variety  of  delivery  (274, 
769)  but  in  the  first  song,  merely  the  desire  to  open  the  play  with 
song  rather  than  the  more  usual  senarii. 


Studies  in  the  Songs  of  Flautine  Comedy 


101 


The  Cistellaria  begins  with  song,  a  trio  sung  by  the  lena  and  the 
two  meretrices,  Gymnasium  and  Selenium.  Selenium  tells  her 
friends  of  her  trouble;  she  is  in  love  with  Alcesimarchus,  who  wishes 
to  marry  her  but  is  betrothed  to  another  girl.  The  song  changes 
to  recitative  (38)  without  any  coincident  change  in  emotion.  The 
lena,  left  on  the  stage,  tells  the  audience  that  Selenium  was  found  by 
her  as  a  baby  and  given  to  a  courtesan  (120-48  senarii).  An  inter- 
calated prologue  follows,  giving  other  presuppositions  of  the  plot. 
The  child  was  the  daughter  of  a  woman  in  Sicyon  and  a  Lemnian 
merchant,  who  years  afterward  married  the  woman  and  now  seeks  to 
find  the  child  (149-202  senarii). 

The  youth,  Alcesimarchus,  enters  with  a  monody  on  the  theme  of 
love  (203-30).     Here  a  lacuna  of  some  length  occurs  in  the  text;  the 
fragments  include  a  conversation  of  Alcesimarchus  with  his  slave 
(231-53  recitative)  and  with  some  other  person  (273-304  senarii); 
of  his  father  and  Gymnasium  (305-73  recitative);  of  Alcesimarchus, 
Selenium    and    Melaenis,    her   foster-mother    (449-535    recitative). 
Then  the  slave,  Lampadio,  tells  his  mistress,  Phanostrata,  Selenium's 
real  mother,  that  he  has  seen  the  woman  who  picked  up  the  child  and 
learned  from  her  that  she  had  been  given  to  Melaenis.     Melaenis, 
who  is  listening,  is,  at  first,  much  distressed  but  by  questioning 
Lampadio  she  learns  the  whole  truth  and  hastens  off  to  find  Selenium 
(536-630  senarii).     She  returns  almost  at  once  with  Selenium  and  a 
casket  containing  her  crepundia  by  which  her  identity  may  be  proved. 
This  she  gives  to  her  ancilla,  Halisca,  to  take  to  the  house.     Alcesi- 
marchus in  a  desperate  state  enters  and  carries  off  Selenium  (631-52 
recitative).     Lampadio  and  Phanostrata,  coming  out,  find  the  box 
that  Halisca  has  dropped  (653-70  recitative).     Halisca  as  she  hunts 
for  the  box  and  sings  a  monody  (671-703)  of  lament  for  its  loss  is 
seen   by   them   and   questioned.     Phanostrata   recognizes   the   cre- 
pundia and  learns  where  her  daughter  is  (704-46  recitative,  747-73 
senarii).     Since  the  free-birth  of  the  girl  is  proved,  the  marriage  of 
Selenium  and  Alcesimarchus  is  made  possible  (774-87  recitative). 

The  fragmentary  condition  of  a  large  part  of  the  play  makes  the 
metrical  scheme  uncertain  though  it  seems  to  be  as  follows:  c,  b,  a,  c, 
b,  a,  b,  a,  b,  a,  b,  c,  b,  a,  b.  In  how  far  the  scheme  is  symmetrical,  it  is 
difficult  to  tell.  Song  is  used  twice  to  heighten  the  emotional  effect 
(203,  671),  but  the  first  song  is  unemotional  and  may  be  in  song 
merely  because  the  dramatist  wished  to  begin  the  play  with  song. 

The  remaining  plays  of  Plautus  have  little  or  no  song.  The 
Poenulus  is  unique  in  having  two  duets  and  no  monodies  (210, 1174). 


102 


Studies  in  the  Songs  of  Plautine  Comedy 


Both  duets  are  sung  by  the  sisters,  interrupted  by  an  aside  duet  of 
those  on  the  stage.  The  songs  are  unemotional  and  unessential  m 
content  but  serve  the  purpose  of  bringing  on  the  stage  characters 
necessary  for  the  action  and  of  portraying  the  character  of  the  two 
sisters  by  contrast.  In  both  cases  the  song  changes  to  recitative 
without  apparent  change  in  tone.  The  metrical  structure  of  the 
play  shows  a  certain  regularity  a,c,b,a,b,a,  b,a,c,b,a,b. 

The  Mercator  has  two  songs,  both  in  the  early  part  of  the  play. 
The  first,  directly  foUowing  the  prologue  speech  (111),  is  the  monody 
of  the  servus  currens  who  rushes  in  with  important  news.  The  duet 
following  the  monody  changes  to  dialogue  (recitative)  after  the 
first  words  of  greeting  (134-40).  The  second  song  is  a  monody  of  the 
adulescens,  on  the  sufferings  caused  by  love  (335).  Both  songs  are 
emotional  but  emotion  is  also  expressed  in  certam  monologues 
later  in  the  play  (588,  700,  830,  842).  The  metrical  scheme  of  the 
play  is  fairly  regular:  a,  c, b, a, c, b, a, b, a, b. 

The  Curculio  has  only  one  song,  directly  following  the  openmg 
scene  in  senarii,  a  rather  elaborate  song  sequence,  monody,  trio, 
duet  monody  (96-157).  The  entering  monody  of  the  Una  m  praise 
of  wine  is  f oUowed  by  a  trio  in  which  Phaedromus  and  Palmurus  ask 
her  to  bring  the  girl  out  to  them.  As  she  goes  into  the  house,  the 
others  sing  a  short  duet  and  then  Phaedronus  sings  a  serenade  to  the 
doors  The  first  monody  is  emotional  in  that  it  expresses  in  antici- 
pation the  joy  aroused  by  wine.  Both  monodies  are  irrelevant  m 
content  and  the  song  as  a  whole  is  of  little  importance.  The  metrical 
structure  of  the  play  is  a,  c,  b,  a,  b,  a,  b,  a,  b. 

The  Asinaria  has  less  song  than  any  other  play  of  Plautus  except 
the  Miles  Gloriosus.  Its  one  song  (127)  is  an  emotional  monody, 
expressing  the  anger  of  the  young  lover,  changing  to  recitative  after 
eleven  lines  without  apparent  change  in  emotion.  Like  the  one  song 
in  the  Curculio  it  follows  directly  the  opening  scene  in  senarn.      ^ 

The  Miles  Gloriosus  has  no  lyrical  passage.  A  certain  variety 
in  delivery  is  obtained  by  the  use  of  recitative  in  trochaic,  iambic  and, 
in  one  case,  anapaestic,  measures. 

Song  plays  an  almost  negligible  part  in  the  plays  of  Terence; 
four  plays  contain  no  song  (cf.  Miles  Gloriosus);  two  contam  a  small 
amount  of  song.  The  Andria  has  two  short  songs,  the  first,  a  short 
monody  of  the  obstetrix,  giving  directions  for  the  care  of  the  child 
(481-6).  Like  several  of  Plautus'  monodies  {Pers.  168,  True.  95) 
it  is  addressed  to  someone  in  the  house.     Its  song  form  adds  a  certain 


Studies  in  the  Songs  of  Plautine  Comedy 


103 


pompous  and  weighty  air  to  the  words.  The  second  song  (625-34) 
is  sung  by  an  adulescens,  Charinus,  in  despair  at  the  supposed  treach- 
ery of  his  friend. 

The  Adelphoe  contains  one  monody  (610-17);  the  adulescens, 
Aeschines,  rushes  in,  deeply  disturbed  at  what  he  has  heard,  and 
sings  a  monody  which,  after  the  outburst  of  emotion  and  at  the 
beginning  of  the  narration,  changes  to  recitative. 

The  songs  of  Terence,  then,  differ  from  the  songs  of  Plautus, 
first  and  above  all,  in  being  so  slight  in  amount  and  second,  in  coming, 
not  after  the  opening  scene  in  senarii  but  comparatively  late  in  the 
play.  The  songs  of  Terence  are  like  those  of  Plautus  in  being  sung 
by  entering  characters  and  in  being,  in  the  main,  emotional.  The 
two  songs  of  the  adulescentes  (And.  625,  Adelp.  610)  are  not  essen- 
tially different  from  such  songs  as  Bac.  612,  Merc.  335  in  their 
function  and  content. 

Metrical  Structure  of  the  Plays  of  Plautus^ 


Amph. 


cbabcbcbabacba(?)bcbab 


A  sin. 


c  b  a  b 


Aul. 


cbacbabacb 


Bac, 


(ac?)bababacbacacb 


Capl.         acbabcbacbcbcb 


Cos. 


acbab  abacabc'b 


Cist. 


cbacbababcbab 


Cure.         acbababab 


Epid.         cbcbacbacb 


Men. 


cbacbacbacbabcb 


Merc.        acbacbabab 


*  a,  senarii  b,  septenarii  c,  song. 


c  a  c. 


104 


Studies  in  the  Songs  of  Plautine  Comedy 


Miles        abababababab 


Most.        acbcbacacbcbab 


Persa        cbacbcbacababac 


Poen, 


a  c 


bababacbab 


Pseud.       acbacbacbacbc 


Pud. 


cbababcbacbababab 


Stick.        c  (a?)  bacbababac 


Trin. 


cbabacbabacb 


True. 


cbcb  acbcabcb 


A  comparative  study  of  the  metrical  schemes  of  the  plays  of 
Plautus  makes  apparent  certain  facts.     The  plays  all  begin  with  the 
combination  a  c  b  or  less  often  cb.     The  opening  passage  of  senarii 
is  separated  from  the  song,  if  by  nothing  else,  by  the  fact  that  the 
song  is  sung  at  the  entrance  of  new  characters.     The  song  and  recita- 
tive, on  the  other  hand,  are  ordinarily  fused  together  and  separated 
by  some  sort  of  break  from  the  succeeding  passage  of  senarii.     Assum- 
ing that  a  c  b  and  c  b  are  metrical  units,  the  frequency  with  which 
they  occur  in  other  parts  of  the  plays  as  well  is  noteworthy.   Outside 
the  metrical  combinations  a  c  b  and  c  b,  the  plays  fall  naturally  into 
the  divisions  a  b  and  less  often  a  c  (six  cases).     Only  in  two  cases, 
at  the  end  of  the  Pseudolus  and  in  Truculentus  (551,  a  play  sui  generis) 
does  a  song  seem  to  stand  alone  outside  of  these  metrical  units. 
In  two  plays,  the  Pseudolus  and  Menaechmiy  four  of  these  metrical 
units  a  c  b  appear  in  succession,  in  others  the  units  containing  song  are 
separated  by  non-song  units  a  b.     The  most  regular  combination  of 
a  c  b  and  a  b  is  found  in  the  Trinummus  acbabacbabacb. 
The  Epidicus  shows  a  balanced  arrangement  of  the  two  units  con- 
taining   song   and   no   a  b   combination    (cbcbacbacb).     The 
question   whether  the   dramatist  was  himself   consciously  striving 
for  this  effect  of  balance  and  symmetry  or  whether  it  is  accidental 
cannot  be  answered.     The  fact  that  in  the  Trinummus,  the  most 


Studies  in  the  Songs  of  Plautine  Comedy 


105 


regularly  balanced  of  the  plays,  three  of  the  five  passages  of  senarii 
are  very  short  and  do  not  differ  in  tone  from  the  environing  recitative 
suggests  that  possibility  in  this  particular  play. 

The   question   naturally   arises   as   to   whether   these   apparent 
metrical  units  coincide  with  units  of   the  action.     The  entrance 
feature  of  song  makes  necessary  a  slight  break  between  the  senarii 
and  song  in  the  unit  a  c  b  though  occasionally  a  seems  to  be  only  a 
prelude  leading  up  to  the  song,  rather  than  distinct  from  it  (Amph. 
974,  Epid.  306,  Trin.  1093).     In  approximately  three-fourths  of  the 
cases,    the  end  of  an  apparent   metrical   unit,  a  c  b,  c  b,  a  c,  a  b, 
comes  at  a  break  in  the  action,  sometimes  a  slight  break  but  often 
the  end  of  a  logical  chapter  of  the  action.     In  the  remaining  cases, 
about  a  fourth,  the  metrical  unit  ends  abruptly  within  the  unit  of 
action  and  no  relation  between  the  two  is  apparent.     The  plays 
differ  widely  in  this  respect.     In  the  Epidicus  there  is  no  conflict 
between  the  metrical  unit  and  the  unit  of  action.     The  preliminary 
exposition  is  given  in  the  first  metrical  unit  (c  b  1-165);  action  is 
initiated  in  the  second  (c  b  166-305);  in  the  third  plans  for  the  in- 
trigue are  made  (a  c  b  306-81);  in  the  fourth  the  intrigue  is  carried 
out  and  discovered  (a  c  b  382-733).     Similarly  in  the  Stichus  cb 
contains  the  presuppositions  of  the  plot  (1-154);  a  c  b,  the  news  of 
the  arrival  of  Epignomus  (155-401);  ab  the  conversation  of  Epig- 
nomus  and  his  brother  with  their  father-in-law  and  the  parasite 
(402-640);  abac  relate  to  Stichus  and  his  feast  (See  p.  100).     In 
other  plays  the  metrical  unit  coincides  with  the  unit  of  action  with 
one  conspicuous  exception.     In  the  Pseudolus  acb  (1-393)  gives 
the  presuppositions  of  the  plot;  acb  (394-766)  starts  the  action, 
acb  (767-997)  carries  out  the  intrigue.     At  998,  within  the  unit  of 
action  before  the  completion  of  the  trick,  the  meter  changes  to  senarii 
for  the  reading  of  a  letter,  acb  (998-1245)  contains  the  discovery  of 
the  intrigue,  and  the  final  song  (1246-1334)  shows  the  triumphant 
joy  of  the  successful  intriguer.     With  Pseud.  998  may  be  compared 
Bac.  997  and  Men.  872,  the  only  case  in  these  plays  in  which  there  is  a 
conflict  between  the  musical  unit  and  the  unit  of  action.     In  other 
plays,  however,  as  the  Captivi  z,nd  Mostellaria,  the  two  are  in  absolute 
conflict  through  the  greater  part  of  the  play.     As  a  result,  then,  it  is 
difficult  to  determine  whether  coincidence  in  metrical  and  organic 
structure,  when  it  does  occur,  is  intentional. 

The  most  obvious  conclusion  to  draw  from  this  analysis  of  individ- 
ual plays  is  that  they  show  great  variety  in  their  use  of  song. 
Although  certain  general  conventions  in  regard  to  song  are  apparent, 


106 


Studies  in  the  Songs  of  Plautine  Comedy 


there  is  no  absolute  conformity  and  no  two  plays  are  exactly  alike. 
The  most  striking  feature  about  song,  that  it  is  sung  by  entrance 
characters,  has,  to  be  sure,  only  three  exceptions  In  the  amount  of 
song  the  plays  di£Eer-from  none  at  all  in  the  Miles  and  11  Imes  m 
Asinaria  to  387  lines  (38%)  in  Casina;  in  the  number  of  songs  from 
one  Usin.)  to  five  {Most.,  etc.).  The  length  of  individual  songs 
ranges  from  five  lines  (Ca^^  833-7,  rn«.  1115-19)  to  more  than  a 
hundred  {Pseud.  133-264;  Cas.  144-251) ;  they  may  be  single  monodies, 
units  in  themselves  as  in  the  Men.  (110,  351,  571,  753)  or  form  a 
complicated  series  (monody,  monody,  duet,  quartette  Bac.  1076- 
1207).    Either  monodies  {Men.,  Trin.)  or  duets  {Epid.,  Poen.)  may 

prevail  in  any  given  play.  .     ,,    ■        .„,„,i 

In  the  content  and  function  of  songs  as  well  as  m  their  external 
form   the  individual  plays  show  a  wide  difference.     The  songs  of  a 
certain  play  may  be  almost  without  exception  irrelevant  and  unes- 
sential in  content  {Men.,  Most.,  True)  or  the  play  may  have  no 
reaUy  irrelevant  song  and  one  or  two  of  importance  for  the  action 
{Pers    Rud.).     The  songs  may  be  consistently  emotional  throughout 
the  play  {Rud.,  Trin.,  Stick.),  essentially  unemotional  {True),  or, 
more  often,  emotional  and  unemotional  songs  may  be  used  together 
in  the  same  play  {Amph.,  Capt.,  Pseud.).     The  plays  supposed  to 
be  based  on  originals  written  by  the  same  author  show  no  special 
similarity  in  the  use  of  song.     The  Mercator,  Mostellaria  and  Trtnum- 
mus  are  quite  different,  the  Casina  and  Rudens  differ  widely  and  no 
individual  characteristics  are  apparent  in  the  Menandrian  plays 

The  value  of  song  as  song  in  the  plays  seems  to  be  three-fold; 
first  and  most  important,  it  enhances  the  force  of  the  emotion  ex- 
pressed, whether  grief,  fear,  or  joy;  less  often,  it  heightens  the  atmos- 
phere of  dissipation  and  frivolity;  in  all  cases,  it  varies  the  manner  ot 
delivery  at  more  or  less  regular  intervals.     A  song  may  serve  the 
double  purpose  of  expressing  emotion  and  varying  delivery  but  it 
may  though  this  happens  less  often,  merely  vary  delivery.     By  his 
use  of  song,  the  dramatist  sometimes  enforces  the  desired  note  ot 
pathos  or  tragedy  {Rudens,  Amphitruo),  but  more  frequently,  from 
the  fact  that  he  is  writing  comedy  and  seeking  to  amuse,  the  song 
seems  a  means  of  lightening  serious  material  and  giving  a  gayer, 
humorous  touch  {Amph.  984,  Pseud.  133,  Most.  313).     The  effec- 
tiveness of  song  for  this  latter  purpose  probably  depended  somewhat 
on  the  lively  movement  and  gesticulation  which  may  have  accom- 
panied it  but,  except  for  such  passages  as  Stick.  769-75,  this  may 
only  be  conjectured. 


VII.     LEO'S  THEORY  OF  THE  CANTICA 
The  theory  that  has  been  generally  accepted  to  explain  the 
cantica  of  Plautus  is  the  theory  of  Leo,  already  briefly  stated  (p.  5). 
This  may  now  be  considered  in  more  detail.     Leo  thinks  that  New 
Comedy  had  given  up  both  the  organic  chorus  and  the  songs  of 
actors  (monodies,  duets,  etc.)  and  used  song  merely  as  an  interlude 
between  the  acts  or  as  an  occasional  addition.     The  Miles  Glonosus 
of  Plautus,  then,  and  the  plays  of  Terence,  in  his  view,  represent  the 
metrical  form  of  the  originals  and  no  play  of  New  Comedy  had 
the  metrical  structure  of  the  Menaechmi  and  the  other  plays  rich 
in  song  1    There  were  no  songs  like  Most.  84  ff.  in  the  Greek  plays, 
and  song  scenes  of  this  sort  are  the  product  of  the  Roman  poet 
(Gesch.  d.  rom.  Lit.  I  112).     Plautus,  then,  differed  from  the  writers 
of  New  Comedy  in  having  no  chorus  and  in  providing  song  for 
individual  actors  (ibid.  125).     The  metrical  form  of  these  monodies 
and  duets,  Leo  thinks,  Plautus  has  taken  from  the  contemporary 
Hellenistic  music  hall  songs  of  the  towns  of  southern  Italy.     These 
songs,  of  which  the  dochmiac  fragment  of  erotic  song  is  a  good 
illustration  (see  p.  3),  resemble  more  closely  Plautine  verse  than  do 
any  other  extant  remains  of  Greek  literature  and  are  themselves 
closely  connected  in  metrical  structure  with  the  lyrics  of  Euripides 
{PI    Cant.  3-4).     The  subject  matter  of  the  songs,  according  to 
Leo's  view,  Plautus  may  have  taken  from  short  speeches  of  simple 
style  in  the  original,  amplifying  and  elaborating  a  briefly  stated 
theme  as  Caecilius  did  in  the  Plocium  (see  p.  4).     In  Philolaches 
long  monody  {Most.  84),  for  instance,  Leo  considers  that  Plautus  is 
elaborating  the  theme  found  in  161  ff.  which,  accordmg  to  his  view, 
alone  belonged  to  the  original  {Gesch.  I  112).     So  also  Alcumena  s 
monody  {Amph.  633)  Plautus  produced  himself  in  accordance  with 
the  theme  of  a  few  verses  spoken  by  Alcumena.^    In  general,  mono- 
dies in  Plautus  were  monologues  in  the  original.     But  occasionally 
Plautus  produced  a  monody  that  was  not  suggested  by  any  theme  in 
the  Greek  model.     This  is  likely  to  be  the  case  when  a  monody  is  not 
woven  into  the  action;  and  contaminated  plays  are  supposed  by 
Leo  to  be  specially  exposed  to  Plautine  invention  of  song.      Leo  s 

•  Monol.  46;  Gesclt.  d.  rom.  Lit.  I  125;  PI.  Cant.  85. 
'Nach.  GoU.  Gesch.  (1911)  256. 

•  Monol.  46.  Pi.  Forsch.^  167. 


108 


Studies  in  the  Songs  of  Plautine  Comedy 


reasons,  then,  for  his  theory  that  the  songs  of  Plautus  were  com- 
posed by  him  in  accordance  with  the  Hellenistic  music  hall  songs 
either  from  material  found  in  the  original  in  a  brief,  non-lyrical 
form,  or  invented  by  him  are  these:  1)  The  testimony  of  the  gram- 
marians and  the  fragments  of  Menander  furnish  no  evidence  of 
songs  by  actors;  2)  In  one  case  Caecilius  is  known  to  have  changed 
an  original  monologue  into  a  monody;  3)  The  plays  of  Terence  uni- 
formly lack  lyrics;  4)  The  lyrical  measures  of  Plautus  resemble  more 
closely  the  metrical  structure  of  Hellenistic  songs  than  they  do  any 
other  songs  extant  in  Greek  dramatic  literature. 

Against  these  arguments  certain  additional  points  may  be  con- 
sidered.    New  Greek  Comedy  was  written  by  a  number  of  drama- 
tists (see  Meineke  op.  cit.  p.  445  ff.  for  a  list  of  twenty-four).     These 
writers  seem  to  have  been  remarkably  prolific.    Menander,  Philemon, 
and  Diphilus  each  wrote  about  a  hundred  plays.     It  is  possible, 
then,  that  these  hundreds  of  plays  were  of  great  variety  in  their 
metrical  structure  and  that  the  remarks  of  the  grammarians  are  not 
uniformly  true  of  all  the  plays.     The  remarks  of  grammarians  gen- 
erally concentrate  upon  Menander.     It  is  conceivable  that  other 
Greek  poets  departed  from  the  Menandrian  form  of  comedy.    The 
fragments  of  Greek  comedy  now  extant  represent  so  small  a  number 
of  plays  in  comparison  with  the  whole  number  written  that  it  is  not 
entirely  safe  to  form  a  conclusion  from  these  in  regard  to  the  plays 
as  a  whole.     It  may  be  only  an  accident  that  the  main  part  of  the 
extant  remains  of  New  Comedy  consists  of  the  non-lyrical  fragments 
of  Menander  and  other  poets,  and  the  finding  of  a  new  papyrus 
fragment  may  make  it  necessary  to  change  our  views.     It  is  pos- 
sible, too,  that  Menander  used  song  less  than  some  of  the  other 
dramatists,  a  view  which  would  explain  the  lack  of  lyrics  in  Terence; 
for  two-thirds  of  his  plays  are  based  on  Menandrian  originals.     No 
definite  conclusions  regarding  New  Comedy  as  a  whole  can  be 
drawn  from  the  plays  of  Terence  since  he  may  have  deliberately 
chosen  those  plays  which  contained  little  or  no  song.     Again,  if  any 
Menandrian  plays  contained  songs  it  is  conceivable  that  Terence 
omitted  them  or  changed  their  form.     Terence  does  not  always  in 
other  respects  represent  the  original  more  closely  than  Plautus. 
For  instance,  the  direct  address  to  the  audience,  found  frequently  in 
Menander  and  also  in  Plautus,  is  lacking  in  Terence.'*    Terence 

*  Evanthius  III  8;  Wessner's  edition  of  Donatus  I  p.  20  illud  quoque  mirabile  in 
to  (Terence)— ?ttO(i  nihil  ad  populum  facit  actorem  vdul  extra  comoediam  loqui  quod 
vitium  Plauti  frequentissimum. 


Studies  in  the  Songs  of  Plautine  Comedy 


109 


seems  to  have  avoided  the  use  of  extraneous  material  and  may  have 
curtailed   the  lyrical  parts  of  his  original  for  that  reason.     The 
resemblance  of  the  meter  of  Plautine  song  to  that  of  the  Hellenistic 
music-hall  songs  which  Leo  regards  as  an  ultimate  issue  from  Euripi- 
dean  lyrics  does  not  exclude  the  possibility  that  songs  of  similar 
metrical  structure  were  also  found  in  Greek  comedies  of  the  Hellenis- 
tic period.     Since  the  great  influence  of  Euripides  on  later  drama  in 
general,  and  on  New  Comedy  in  particular,  is  generally  admitted, 
it  is  possible  that  the  metrical  structure  of  comedy  was  affected  by 
the  practice  of  Euripides.     The  known  fact  that  Caecilius  changed 
a  monologue  into  a  monody  in  one  case,  while  important,  does  not 
necessarily  lead  to  the  conclusion  that  the  monodies  of  Plautus  were, 
in  general,  monologues  in  the  original.     These  are  all  a  priori  pos- 
sibilities which  Leo,  perhaps  rightly,  waives  in  favor  of  his  theory. 
Leo  makes,  however,  certain  important  exceptions  to  his  general 
statement  that  the  songs  of  Plautus  are,  so  far  as  their  metrical  form 
is  concerned,  the  invention  of  Plautus.     As  regards  the  Persa  he 
thinks  it  quite  possible  that  ^'im  Original  mehr  als  bei  Menander  und 
Philemon   gesungen   wurde."     (Gesch.  I   120.)     He  comes   to   this 
conclusion  for  two  reasons.     First,  the  play  opens  with  two  short 
duets   which   are   *'das   einzige   sichere   Beispiel  von   Responsion'' 
{Gesch.  I  120  n.  2).     So  he  considers  it  probable  that  ^'die  Eingangs- 
scene  auch  im  Original  lyrisch  und  in  der  Weise  strophisch  war  wie  Ar. 
Eccl.  952"  {Monol  47)  and  compares  it  also  with  the  beginning  of 
the  Electra  and  Helen  {Monol  63).     Moreover  in  regard  to  the  last 
scene  he  says  "sein  Schlussakt  ist  auch,  als  Erbtheil  der  dpxaia, 
ein  organischer  BestandtheU  des  Originals  und  dessen  lyrische  Form 
muss   fiir   das   Original   vorausgesetzen   werden"    {PI   Cant.    102). 
He  comes  to  this  conclusion  partly  because  he  considers  that  the 
original  of  the  Persa  is  earlier  in  date  than  the  plays  of  Menander 
and  so  belongs  to  Middle  rather  than  to  New  Comedy  {PL  Cant. 
102,  Monol.  46  ff.).     The  evidence  for  dating  is  not  entirely  con- 
vincing^ but  whether  the  Persa  is  based  on  a  play  of  Middle  or  New 
Comedy  makes  little  difference  so  far  as  its  metrical  form  is  concerned. 
If  Leo  admits  that  songs  of  this  sort  existed  in  a  play  of  Middle  Com- 
edy, it  is  quite  possible  that  their  use  was  continued  in,  at  least,  some 
of  the  great  number  of  plays  of  later  dramatists.     If  the  songs  at 
the  beginning  and  the  end  of  the  Persa  are  Greek  and  not  Plautme, 
6  See  Meyer  De  Plauti  Persa,  Comm.  phil.  lenenses  VIII  fasc.  1,  183  ff.;  Prescott 
The  Interpretation  of  Roman  Comedy,  Class.  Phil.  XI,  135,  n.  2. 


110 


studies  in  the  Songs  of  Plautine  Comedy 


one  must  consider  the  possibility  that  similar  songs  in  other  plays 

may  also  be  Greek. 

He  draws  only  slightly  different  conclusions  about  the  Sttchus, 
which  is  very  like  the  Persa  in  metrical  structure  since  it  also  begins 
and  ends  with  song.  Of  the  last  act  of  the  Stichus  he  says  "dessen 
Art  direkt  den  frohlich  festlichen  e^odm  der  alten  Komodie  ent- 
stammt  und  der  Art  Menanders-fremd  ist."  The  last  scene  of  the 
Persa  then,  is  ^'urspninglich"  while  that  of  the  Stichus  is  ^'zugesetzt" 
but  with  the  important  addition  "aber  nicht  aus  eigenen  Mitteln  des 
Plautus;  er  ist  so  attisch  wie  moglich."  The  last  act  comes  from  a 
Greek  original  like  that  of  the  Persa,  he  concludes  {PL  Porsche 
168,  PL  CanL  102).  Again,  granting  the  possibility  of  contamma- 
tion  in  the  Stichus  and  that  the  last  scene  may  not  belong  to  the 
Menandrian  original,  still  Leo's  admission  that  the  song  is  probablv 
Greek  rather  than  Plautine  is  significant. 

Leo  also  believes  that  the  banquet  scene  of  the  Mostellarta  (313) 
was  found  in  lyrical  measures  in  the  Greek  original.  He  thinks  that 
it  was  not  invented  by  Plautus  to  take  the  place  of  an  inorganic 
intermezzo  in  the  original;  the  atmosphere  of  the  song  is  thoroughly 
Attic  and  the  action  introduces  Callidamates,  a  person  needed  for 
the  later  action  {Hermes,  43,  310).  If  it  was  in  the  original  it  must 
have  been  lyrical  "und  wir  haben  ein  Beispiel,  vielleicht  das  emzige, 
einer  mit  Bestimmtheit  dem  attischen  Dichter  zuzuweisenden  lyr- 
ischen  Szene  die  Plautus  in  seiner  Weise  lyrisch  ubertragen  hat'' 
{Gesch.  I.  115).  He  also  calls  the  scene  ''ein  Prachtstuck  weinseliger 
Hetarenlyrik,  ein  Ku^^aanKSp  das  sicherlich  nicht  auf  romischen 
Boden  gewachsen  ist,  dessen  Muster  Plautus  schwerlich  bei  Philemon 
aber  gewiss  bei  einem  Griechen  gefunden  hat"  {PL  CanL  95). 

Leo's  reasons,   then,  for  excepting   these  four  songs  from  his 

general  theory  that  the  songs  in  Roman  comedy  are  the  invention  of 

Plautus  are  these.     The  two  monodies  at  the  beginning  of  the  Persa 

are  Greek  because  of  their  metrical  form,  a  unique  example  of  respon- 

sion.     The  other  three  songs,  the  last  scenes  of  the  Persa  and  Stichus 

and  MosL  313,  represent  banquet  scenes,  drinking  and  feasting  in 

company   with   meretrices.     Their   whole   atmosphere   is   decidedly 

Greek  and  quite  foreign  to  the  Rome  of  Plautus'  time.     For  that 

reason   he   considers  it  improbable   that   the   Roman   poet   should 

either  have  invented  them  or  given  them  a  metrical  form  which 

enhances   the  atmosphere  of  dissipation  and  hilarity.     Moreover, 

their  resemblance  to  the  Kwmos  with  which  several  of  the  plays  of 

Aristophanes  end  is  quite  evident. 


Studies  in  the  Songs  of  Plautine  Comedy 


111 


In  thus  admitting  that  certain  songs  either  from  their  responsive 
form   {Pers,    1-12)   or   their  un-Roman   atmosphere   of   dissipation 
{MosL  313;  Pers.  753;  Stich.  769)  were  songs  in  the  Greek  originals 
Leo  weakens  the  value  of  the  testimony  of  the  grammarians  and  the 
extant  fragments.     Even  granting   the   conjectural  dating  of   the 
Persa  which  Leo  accepts,  it  is  merely  the  resemblance  of  the  final 
song  of  the  Stichus  to  that  of  the  Persa  which  makes  him  consider 
that  the  last  act  of  the  Stichus  is  also  from  Middle  Comedy.     The 
song  in  the  Mostellaria,  moreover,  he  does  not  attempt  to  explain 
in  that  way.     If  the  presence  of  any  non-choral  song  in  New  Comedy 
is  granted,  the  testimony  of  the  grammarians  may  be  reconciled  with 
this  structure  as  a  generalization  based  on  some  degree  of  uniformity 
in  outstanding  poets  like   Menander.     The  possibility  that  other 
songs  as  well  may  be  Greek  in  origin  cannot  be  disregarded,  a  possi- 
bility which  Leo  himself  concedes  in  the  Persa. 

Applying  the  first  of  Leo's  criteria,  the  responsive  character  of 
song,  the  question  may  be  raised  as  to  whether  the  metrical  structure 
of  the  plays  shows  any  other  Greek  features.     Partial  responsion  is 
found   in   the   contrasted   monodies   of   Bac.   612   and  640.     They 
begin  with  three  lines  of  the  same  meter  and  then  change  to  different 
meters      In  the  Captivi  there  is  a  chiastic  arrangement  in  the  meters 
of  the  two  pairs  of  contrasted  songs  (498,  516;  768,  781)  a  bacchiac  b 
iamb.  Oct.,  troch.  oct.  sept;  c  troch.  sept.,  iamb,  oct.,  d  bacchiac.     In 
addition  to  the  contrast  between  a  and  b  and  c  and  d,  the  chiastic 
arrangement  brings  out  still  further  the  contrast  between  a  and  d  sung 
by  the  same  character  and  b  and  c.     Most.  84  is  perhaps  the  best 
example  of  the  careful  and  detailed  balance  of  metrical  structure  and 
thought.     It  is  divided  into  four  stanzas  each  elaborating  one  phase  of 
the  topical  theme,  the  first  mainly  bacchiac,  the  second  cretic,  the 
third  bacchiac,  the  fourth  cretic.     Two  lines  of  iambic  octonarn  m 
each  case  mark  the  transition  from  one  stanza  to  another  (103-4 
118-19    131-2).     A  short  verse  of  a  different  meter  marks  the  end 
of  a  smaller  thought  division  (90,  94,  98,  102,  etc.).     That  such  com- 
plicated and  highly  artistic  metrical  structure  was  due  to  the  original 
genius  of  the  Latin  poet  is,  of  course,  possible,  but  considermg  the 
novelty  of  these  lyrical  meters  in  Latin  poetry,  seems  somewhat 
improbable.     The  regularity  of  song  near  the  beginning  of  the  play 
may  suggest  to  some  the  parados  of  Greek  drama  but  it  is  unnecessary 
to  conclude  that  there  was  any  connection  between  the  two.     Simi- 
larly, unessential  songs,  filling  time  intervals  and  connecting  chapters 


112 


Sttidies  in  the  Songs  of  Plautine  Comedy 


of  the  action  as  Men.  966,  Most.  858,  Trin.  820  may  possibly  suggest 
a  slight  resemblance  to  the  stasima  of  Greek  drama.  Plautine  plays, 
on  the  whole,  show  a  greater  variety  of  metrical  structure  than  do  the 
plays  of  Greek  drama,  yet  it  is  difficult  to  believe  that  the  preva- 
lence of  balance  and  symmetry  in  many  of  the  plays  is  accidental 
(as,  for  example,  Trinummus,  see  p.  104).  If  the  metrical  structure 
of  the  play  is  due  to  a  conscious  striving  for  this  balanced  effect,  it 
seems  to  me  personally,  at  any  rate,  more  likely  to  be  Greek  than 

Roman. 

Leo's  other  criterion  for  distinguishing  songs  of  the  Greek  original 
must  also  be   applied — the   un-Roman   atmosphere   of   dissipation 
and  hilarity  which  is  heightened  by  the  song  form.     This  is  as  appar- 
ent in  Fsetid.  1246  as  in  the  passages  {Most.  313,  Pers.  753,  Stick.  769) 
in  which  Leo  admits  its  force.     The  feast  is  not  portrayed  on  the 
stage  but  the  intoxicated  Pseudolus  describes  it  in  detail.     Leo, 
however,  thinks  that  this  monody  was  not  in  the  original  but  was 
added  by  Plautus,  who  makes  the  most  of  Pseudolus'  intoxication  to 
enliven  his  last  musical  scene  {PI.  Cant.  p.  41,  n.  1).     The  reasons 
for  this  conclusion  are  these.     Simo  leaves  the  stage  at  1245  saying 
that  he  is  going  into  the  house  to  get  money.     He  does  not  return 
until  1285  when  he  comes  out  called  by  the  shouts  of  Pseudolus. 
Then  two  reasons  are  given  for  Pseudolus'  entrance  which  are  incon- 
sistent inde  hue  exii,  crapulam  dum  amoverem  and  nunc  ah  ero  ad  erum 
maiorem  venio  foedus  commemoratum  (1282-3).     He  thinks  it  probable 
that  in  the  original  1283-4  followed  directly  after  1245.     His  evidence, 
however,  is  not  strong  enough  to  make  his  suggestion  plausible.     An 
entrance  delayed  longer  than  is  necessary  or  even  natural  is  not 
uncommon  in  Plautus.     For  instance,  in  the  Rudens,  Labrax  enters 
the  temple  at  570  and  Trachalio  does  not  rush  forth  to  seek  help 
until  615.     Again  Daemones  enters  the  temple  at  660  and  does  not 
come  out  until  706.     Although  rapid  action  would  be  expected  in 
both  these  cases,  the  interval  of  absence  is  greater  than  in  the  case  of 
Simo.     For  other  examples  of  delayed  entrance  see  Conrad  op.  cit, 
p.  27  ff.     As  for  the  two  motives  of  Pseudolus'  entrance,  only  a  very 
literal  interpretation  would  make  them  seem  inconsistent.     The  first 
looks  backward  to  the  feast  and  the  second  forward  to  the  action  to 
come.     It  is  very  difficult  to  see  why  the  arguments  given  by  Leo 
for  the  Greek  origin  of  Most.  313,  Pers.  753  and  Stick.  769  do  not  also 
hold  good  for  Pseudolus'  monody.     (See  p.  109  f.)     The  atmosphere 
of  the  song  is  certainly  foreign  to  the  Rome  of  Plautus'  time  in  its 


Studies  in  the  Songs  of  Plautine  Comedy 


113 


account  of  feasting,  drinking,  dancing,  and  meretrtces.     What  Leo 
says  about  Most.  313  may  be  applied  equally  well  to  Pseud.  1246 
^'ein    Prachtstuck    weinseliger    Hetarenlyrik,    ein    KcoMadriKov    das 
sicherlich  nicht  auf  romischen  Boden  gewachsen  ist,  dessen  Muster 
Plautus     .  .  .  gewiss  bei  einem  Griechen  gefunden  hat"  {PI.  Cant.  95). 
In  particular,  compare  Most.  330,  iacentes  toilet  postea  nos  ambos 
aliquis  with  Pseud.  1247  an  id  voltis  ut  me  hinc  iacentem  ahqms  tollat? 
With  these  scenes  in  which  the  song-form  adds  materially  to  the 
atmosphere  of  hilarity  and  dissipation  may  be  compared  the  last 
scene  of  the  Bacckides  in  which  the  Bacchides  make  the  old  men  the 
object  of  their  ridicule  and  finally  succeed  in  winnmg  them  over. 
Again  the  prominence  of  drinking  and  hetairai  makes  the  scene 
Greek,  not  Roman  in  origin,  and  if  it  occurred  in  the  Greek  origmal 
the  probability  that  it  was  in  song  form  cannot  be  ignored,     it 
seems  as  little  probable  that  Plautus  increased  the  atmosphere  of 
dissipation  by  giving  the  scene  its  song  form  in  this  scene  as  m  any 
other  similar  scene.     Similarly  the  song  of  the  lena  in  praise  of 
wine  {Cure.  96)  seems  Greek  and  not  Roman  in  material.     Again  m 
the  scene  in  the  Pseudolus  (133  ff.)  between  Ballio  and  the  meretrtces 
the  elaborate  details  describing  the  preparations  for  the  feast  could 
hardly  be  Plautus'  invention.     (Observe  for  instance,  the  nunaber  of 
transliterated    Greek    words,    ckpe,    karpage,    penstromata.)     ihe 
detailed  directions  to  the  meretrices,  in  addition,  seem  strange  to  the 
Rome  of  Plautus'  time.     That  the  subject  matter  was  found  m  the 
original  in  dialogue  form  is,  of  course,  possible,  but  again  the  question 
arises  as  to  whether  a  Latin  writer  would  have  enhanced  the  atmos- 
phere of  dissipation  by  introducing  lyric  measures.     The  number  ot 
songs  sung  by  meretrices  or  about  them  is  in  itself  interestmg.     The 
opening  trio  in  the  Cistellaria  is  not  only  sung  by  meretrices  but  is 
concerned  in  theme  with  their  social  position.     There  are  several 
monodies  in  the  Truculentus  95,  209,  551,  711,  discussmg  the  rela- 
tions between  the  meretrix  and  her  lover.     Both  duets  in  the  Poen^ 
ulus  are  sung  by  girls  who  are  freeborn,  it  is  true,  but  temporarily  m 
the  establishment  of  a  leno.     The  songs  are  in  subject-matter  charac- 
teristic of  women  of  their  class.     The  first  tells  of  the  labonousness  o 
a  woman's  toilet  and  the  second  describes  the  Aphrodisia,  a  festival  of 
meretrices.     Men.  351  is  also  sung  by  a  meretrix  and  Pers.  777  is 
sung  by  a  leno.     In  general,  then,  we  may  observe  the  frequency 

•  Cf  Kunst  {op.  at.  164  f.)  "Deren  Monolog  spiegelt  sich  PsetidrsI,  I,  in  der  grossen 
soloarie  wieder,  die  in  ihren  gedanklichen  Grundstock  kaum  erst  Plautinisch  ist. 


114 


Studies  in  the  Songs  of  Plautine  Comedy 


with  which  song  is  used  by  Plautus  for  the  meretrix  and  leno  scenes, 
thus  enhancing  an  atmosphere  of  revelry  and  dissipation  which  is 
essentially  Greek  rather  than  Roman. 

The  resemblance  of  these  carousal  scenes  to  the  final  scenes  of 
such  plays  as  Wasps  and  Acharnians  is  obvious.  To  a  less  degree 
other  parallels  between  Old  Comedy  and  the  plays  of  Plautus  may 
be  seen.  The  several  examples  of  a  pair  of  monodies  expressing 
contrasted  emotions  {Bac.  612,  640;  Capt.  498,  516;  768,  781;  Pets. 
753,  777)  have  a  parallel  in  the  monodies  of  Lamachus  and  Dicaeopo- 
lis  at  the  end  of  the  Acharnians  (1193,  1198).  The  chagrin  of  Lama- 
chus and  the  joyous  self-satisfaction  of  Dicaeopolis  may  be  compared 
especially  to  the  contrast  between  the  joy  of  the  arch-intriguer  and 
the  humiliation  of  the  victim  of  the  trick  in  the  Persa  (753,  777). 
In  both  cases  the  monodies  come  near  the  end  of  the  play.  The 
use  of  entrance  monodies,  primarily  to  bring  on  the  stage  a  character 
needed  for  the  next  action,  is  especially  prominent  in  the  Birds  (1337, 

1373,    1410). 

The  similarity  between  the  monodies  of  Euripides  and  certain 
songs  of  Plautus  is  apparent  at  once.  Euripides  uses  monodies,  for 
the  most  part,  to  enhance  emotion,  grief  over  the  dead,  or  despair 
at  the  singer's  own  fate.  In  particular,  Amph.  633,  Rud.  185,  220, 
may  be  compared  with  such  songs  as  Elect.  112,  Hec.  59,  Tread.  98. 
The  joy  and  triumph  of  many  of  Plautus'  songs  would  naturally 
be  out  of  place  in  tragedy.  Amph.  1053  and  Cas.  621  resemble  closely 
the  monody  of  the  Phrygian  {Or est.  1369),  the  highly  emotional 
monody  of  the  messenger  who  narrates  in  song  form  important  off- 
stage action.  The  non-emotional  monody  of  Plautus  is  also  not  with- 
out a  parallel  in  Euripides;  for  the  song  of  Ion  {Ion  82)  is  cheerful  and 
serene  in  feeling  and  differs  greatly  from  the  other  highly  emotional 
monodies.  Its  position  directly  after  the  prologue  in  iambic  trimeter 
has  its  counterpart  in  Plautus  (cf.  especially  Amph.  153,  which  is 
also  unemotional).  Plautus'  monody  on  a  general  topic  has  no 
prototype  in  the  songs  sung  by  the  actors  in  Euripidean  drama 
but  has  a  parallel  in  those  choruses  which  describe  the  sufferings  of 
war  {Andr.  274,  Hzc.  629)  or  the  evils  of  love  {Hipp.. 524,  Med.  627, 
Iph.  in  Aul.  543).  It  is  the  latter  theme  only  that  is  appropriate  in 
comedy. 

In  brief,  then,  though  no  exact  or  complete  parallel  between 
Plautus'  use  of  song  and  that  of  either  Aristophanes  or  Euripides 
can  be  expected,  there  do  seem  to  be  traces  of  contact  with  earlier 


Studies  in  the  Songs  of  Plautine  Comedy 


115 


stages  of  song  in  the  drama.  The  emotional  character  of  song  is  still 
dominant  as  it  was  in  both  Euripides  and  Aristophanes  but  the 
unemotional  song,  present  to  only  a  slight  degree  in  the  earlier 
dramatists,  is  more  frequent.  The  topical  theme,  with  the  dropping 
of  the  chorus,  seems  to  have  been  transferred  from  the  choral  ode 
to  the  monody.  In  Aristophanes  and  Euripides  the  actors'  songs  are 
frequently  but  not  always  sung  at  entrance;  in  Plautus,  the  songs  are 
almost  without  exception  entrance  songs. 

One  must  consider  what  effect  the  omission  of  all  song  from 
Plautus  would  have.  If  Plautus  enlarged  on  certain  themes  found 
in  brief  non-song  form  in  the  Greek,  as  Leo  thinks,  the  Greek  originals 
would  have  lacked  certain  features  which  seem  to  be  characteristic 
of  the  use  of  song  in  the  Greek  drama.  Emotional  crises,  whether 
grief  or  joy,  would  have  been  heightened  by  no  coincident  change 
in  delivery  except,  possibly,  the  change  from  trimeter  to  recitative, 
which  as  a  less  violent  change  seems  less  effective.  The  regular  and 
monotonous  use  of  trimeter  and  occasional  recitative  would  have  been 
relieved  by  no  highly  diversified  lyrical  passages.  It  must  remain 
largely  a  matter  of  subjective  opinion  but  the  highly  artistic  value 
of  the  songs  as  song  seems  more  in  consonance  with  Greek  genius 
than  with  what  little  is  known  of  Plautus'  creative  power.  Plautus' 
reputation  for  careless  and  hasty  workmanship,  for  which  he  was 
criticized  by  Horace  {Ep.  II,  1,  175-6),  has  been  emphasized  by  most 
of  the  Plautine  scholars  of  today.^ 

The  effort  required  in  working  Latin  into  difficult  Greek  lyrical 
measures,  as  yet  almost  new  in  Latin  literature,  seems  hardly  consist- 
ent with  Leo's  view.  It  seems  more  natural  to  think  that  he  followed 
the  metrical  arrangement  before  him  in  his  Greek  original,  with 
certain  variations,  than  that  he  laboriously  adopted  Greek  meters 
from  an  entirely  different  branch  of  literature.  If  he  could,  by  intro- 
ducing song,  make  his  dramas  more  pleasing  to  the  popular  taste, 
it  is  possible,  of  course,  that  he  did  so.«     Still  the  songs  that  make 

7  Leo  PI  Forsch}  p.  186:  "Horaz  spricht  uber  Plautus  mit  der  Einseitigkeit  des 
Vorkampfers  einer  neuen  Zeit;  aber  wenn  man  es  auf  dieStucke  beschrankt  die  es  an- 
geht,  so  muss  man  ihm  recht  gegen-Alles  was  in  Plautus'  Komodien  der  dramatischen 
Schopferkraft  entsprungen  ist,  ist  nicht  sein  eigen;  die  Schritte,  die  er  als  Dramatiker 
versuchte,warenFehlschritte." 

•  Legrand,  New  Greek  Comedy  trans,  by  Loeb,  (1917)  18  It  would  seem 
that  Plautus  like  the  Roman  public  of  the  day,  had  little  taste  for  psychological 
refinement  and  for  outbursts  of  emotion.  If  Plautus  ever  did  anythmg  beyond 
inventing  the  language  of  his  plays  it  would  be  to  conceive  some  comical  or  fantastic 


116 


Studies  in  the  Songs  of  Plautine  Comedy 


perhaps,  the  greatest  comic  appeal  {Most,  313,  Pers.  753,  Stick  769.) 
were,  according  to  Leo's  view,  in  the  Greek  original  and  show  that 
New  Comedy  as  well  appealed  to  a  not  altogether  refined  sense  of 
the  ridiculous.  Frequently,  however,  the  songs  of  Plautus  do  not 
seem  to  have  been  written  merely  to  amuse.  The  elaborate  imagery 
in  Most.  84,  for  instance,  carried  on  with  awkward  phraseology  and 
repetition  necessitated  perhaps  by  the  careful  balance  between  the 
metrical  and  thought  units,  cannot  be  due  merely  to  a  desire  to 
please  the  taste  of  the  audience.  If  Plautus  was  interested  merely  in 
a  comic  appeal  to  the  unrefined  taste  of  his  audience,  why  did  he 
heighten  the  pathetic  and  tragic  effect  by  substituting  for  the  brief 
and  only  slightly  emotional  non-song  passages  of  the  original,  the 
long  and  highly  emotional  monodies  of  Alcumena  (Amph.  633)  and 
Pardalisca  {Rud.  185)? 

It  is  no  part  of  my  intention  to  attempt  to  settle  the  question  of 
the  Greek  or  Roman  origin  of  the  songs  of  Plautus  and,  in  fact,  it  is 
doubtful  whether  the  question  can  ever  be  satisfactorily  answered 
unless  a  considerably  larger  amount  of  New  Comedy  is  discovered, 
an  amount  large  enough  and  varied  enough  in  authorship  to  be 
really  conclusive.  I  have  wished  merely  to  set  forth  the  outstanding 
features  of  the  content  and  function  of  song  in  Roman  Comedy, 
incidentally,  as  a  result  of  the  facts  seen,  pointing  out  the  possibility 
that  Leo's  view  is  not  the  only  plausible  explanation  of  Plautine  song 
and  should  not,  perhaps,  meet  with  unqualified  acceptance. 


episode.  His  inventions  were  certainly  not  in  the  realm  of  psychology.  We  shall 
not  go  far  astray,  if  we  trace  back  to  Greek  works  all  the  pathetic  passages,  the 
ingenious  observations  and  delicate  analyses  that  occur  in  the  plays." 


INDEX  OF  PASSAGES 


Aristophanes  ^cAarnmn^  1193,  114;  1198,  114;  Birds  1337,  114;  1373,  114;  1410, 114; 

Ecd.  952, 109;  Plutus  644,  31  n.;  Wasps,  114. 
Ennpides  Andr.  274, 114;  693, 42  n.;  ElecL  1, 109;  112, 114;  1035,  41  n.;  Hd.  515, 36  n.; 

726,  40  n.;  Herakl.  800,  36  n.;  Hipp.  524,  114;  616,  41  n.;  Ion  82,  114;  Iph.  in 

Aid.  543,  114;  Medea  230,  41  n.;  Orestes  1369,  36,  81,  114;  Phoen.  1015,  42  n.; 

Troad.98,  114. 

Plautus 

Amphitruo'  8,  52  n.,  80-82, 106;  /,  13  n.,  80;  153,  36,  48,  48  n.,  51,  52  n.,  57,  80,  81,  82, 

114;  263,  12;  463,  35  n.,  81;  551,  12  n,  15  n.,  47,  48,  80,  82;  633,  27,  48  n.,  56,  80, 

81,  82,  107,  114,  116;  654,  11;  861,  15,  35  n.,  80,  81;  822,  15,  29  n,  50,  51,  80,  81; 

956, 14  n,  80;  974,  80, 81, 105;  984,  7  n,  31,  35, 48, 48  n,  80,  82, 106;  1006, 11,  81; 

1009, 14, 80;  1053, 12  n.,  35,  36, 48  n.,  51,  54, 81, 82, 114;  1076, 44, 49, 81;  1086, 11. 
Asinaria  4,  8,  53  n,  102,  106;  19,  41  n.;  127,  12  n.,  14  n,  30,  43  n.,  48  n.;  55,  102; 

138, 12;  153, 43  Vi.,249, 15; 267, 16, 31  n.,  50,  58 n.; 381,  58  n.; 751, 8 n. 
Aulularia  52  n.,  98-99;  1,  98;  40, 13  n.;  67,  62  n.;  120, 15  n.,  47,  49,  53, 98, 99;  161, 12; 

204,  62  n.;  243,  62  n.;  268, 13  n.;  350, 14  n.;  398,  63,  64;  406, 12  n.,  14  n.,  28,  48  n., 

57  98  99;  415,  46,  49;  444,  7  n.,  43,  48  n.,  61,  63,  98;  447,  12;  475,  41  n.;  587, 

40'n.,  63;  608,  51;  713,  15  n.,  28,  43,  48  n.,  56,  98,  99;  727,  43,  48  n.,  56,  98;  731, 

11, 98;  <?()<?  16  n..  33  n.,  50. 
Bacchides  8,  74-77;  101,  62  n.,  74;  170,  33  n.,  34  n.,  35  n.,  53  n.,  59  n.,  60  n.,  74;  368, 

76;i«!?5,53n.,59n.,60n.,74;5(W,75,76;52(J,62n.,75;5J0,54n.;57J,13n.,54n.; 

612,  4,  29,  37,  48  n.,  56,  75,  76,  77,  84,  103,  111,  114;  625,  45,  49,  75,  76,  77; 

640,  31,  34  n.,  37,  48  n.,  75,  111,  114;  671,  11;  795,  62  n.;  842,  16  n.,  49,  50,  51; 

913,  40  n.,  62  n.;  925,  32,  48  n.,  75,  76,  77;  979,  46,  49,  53,  75,  77;  997,  8,  11,  76, 

105;  1053,  62  n.;  im,  15  n.,  38,  48  n.,  75,  76,  106;  1087,  29,  30,  48  n.,  75,  76,  77; 

1105,  46,  49,  77;  1120,  14  n.,  54,  75,  76,  77, 113;  1207, 10,  76. 
Captivi  52,  89-92,  105,  106;  69,  58  n.,  90;  92,  53  n.;  195,  15  n.,  47,  49,  53,  60,  63,  90, 

92-  240  12,  12  n.;  461,  38  n.,  54  n.,  64,  90,  91;  498,  15  n.,  32  n.,  34,  35,  37,  48  n., 

51,'  53,  90,  91,  111,  114;  516,  12  n,;  14,  28,  30  n.,  37,  48  n.,  90,  91,  111,  114;  541, 

11;  768, 15  n.,  30,  37,  38  n.,  48,  60, 91,  111,  114;  781,  29,  37, 48  n.,  90, 91,  111,  114; 

790,  11,  31  n.;  833,  9,  10,  91  n.,  106;  843,  31  n.;  869,  31  n.;  909,  54  n.,  63,  64,  90; 

922,nn.,UTi.,Z2,^n.,90;930,n,978,Un. 
Casina  8,  52  n.,  67-70,  106,  114;  144,  15  n.,  30,  41,  48  n.,  56,  58,  67,  70,  106;  i^5  15, 

43,  45,  48  n.,  57,  67;  170,  49,  59;  217,  39,  48  n.,  55,  56,  67;  229,  44,  49,  67;  252 

11  67,70;279,Un.,67,424,62n.;504,62n.;621,  4,  10,  28,  36  n.,  48  n.,  68,  70, 

114;  630,  46,  47,  49,  53;  758,  8;  815,  12  n.,  48,  48  n.,  69,  70;  825,  45;  847,  8,  11; 

855,  15  n..  47,  48,  61,  69,  70;  875,  34,  35,  48  n.,  50,  51,  54,  69,  70;  892  46,  49; 

937,  29,  30,  48  n.,  70;  963,  11. 
Cistdlaria  7,  52  n.,  53  n.,  101;  1,  15  n.,  47,  59,  101,  113;  21,  43  n.;  38,  12,  101-20, 

35  n.,  53  n.,  101;  149,  53  n.;  203,  11  n.,  14  n.,  38,  43  n.,  48  n.,  55,  101;  653,  14  n.; 

671,  12  n.,  27,  48  n.,  56,  57, 101;  704,  11. 

» The  pages  on  which  the  play  is  discussed  as  a  whole  are  given  direcUy  after 
the  name  of  the  play.    The  italicized  figures  refer  to  the  lines  of  the  play. 

117 


118 


Studies  in  the  Songs  of  Plautine  Comedy 


Curculio  53  n.,  102;  Pd,  10, 33, 48  n.,  58, 102, 113;  110, 46;  139, 61,  63;  147,  7  n.,  43,  48 n.; 
i5«?,  14 n.;  25i,  14  n.;  280,  31  n.,  58  n.;J27,  54  n.;J7/,  58  n.,  63;  462,  63,  65;  532, 

60  n. 
Epidicus  7,  92-94,  104,  105,  106;  1,  15  n.,  47,  49,  52,  92,  94;  81,  7  n,  38,  43,  48  n.,  92; 
99,  12;  166,  12  n.,  15  n.,  47,  49,  53,  60,  92,  94;  181,  32,  43  n.,  48  n.,  92,  94;  190, 
11,  31  n.;  306,  91,  105;  320,  15  n.,  61;  337,  43,  43  n.,  48  n.,  57,  61,  91,  94;  341, 
11;  JH  14  n.;  475,  14n.;5^6,27,48n.,  56,57,93, 94;5JJ, 44, 49;547,ll;57(?,14n. 

Menaechmi 52  n.,  87-89, 104, 106, 107;  77, 13  n.,  58  n,  87,  89;  110,  30,  41,  48  n.,  56,  58, 
87,  89,  106;  135,  11,  87;  182,  14  n.;  219,  14  n.;  226,  60  n.;  351,  42,  48  n., 
57,  88,  89,  106,  113;  369,  11;  459,  42  n.;  524,  14  n.;  571,  12  n.,  14  n.,  41,  48,  48  n., 
58  88,  89,  106,  604,11;  675,  14  n.;  753,  40,  48,  48  n.,  58,  88,  89,  106;  775,  11; 
876,  62  n.;  882,  13  n.;  957,  62  n.;  966,  12  n.,  15  n.,  39,  40,  48,  48  n.,  58,  63,  88,  89, 
112;  983,  40;  990,  15,  43,  48  n.,  56,  57,  62,  86;  995,  45;  1008,  12. 

Mercator  8,  16,  52  n.,  102,  106;  1,  13  n.,  39  n.;  Ill,  31,  48  n.,  56,  57,  102;  131,  44,  49; 
141,  12;  180,  44,  54  n.;  225,  59  n.;  335,  38,  39,  48  n.,  56,  102,  103;  364,  11;  474,  14 
n  ;  544,  62  n.;  588,  13  n.,  16  n.,  29  n.,  50,  51,  102;  667,  13  n.,  58  n.;  678,  33  n.; 
692,  15,  54  n.,  63;  700,  15,  29  n.,  41  n.,  50,  51,  102;  789,  62  n.;  817,  41  n.,  64;  830, 
16,  29  n.,  50,  51,  62  n,  102;  842,  33  n.,  50,  102;  957,  62  n. 

MUes  Gloriosus  4,  8,  52  n.,  102,  106,  107;  1,  59  n.;  272,  58  n.;  464,  62  n.;  596,  13  n.; 
522,  62  n.;  813,  65;  818,  14  n.;  867,  65;  1200, 14  n.;  1388,  62  n. 

MosteUaria  S3  n.,  77-80,  105,  106;  /,  13  n.,  59  n.,  77;  79,  53  n.;  84,  10,  39,  48  n,  55,  61, 
63,  77,  79,  107,  111,  116;  157,  43  n.,  59  n.,  77;  313,  10,  14  n.,  33,  48  n.,  61,  63, 
77,  79,  106,  110,  HI,  112,  113,  116;  320,  45,  48;  348,  16  n.,  31  n,  49,  50,  54  n., 
77,  79;  431,  33  n.,  59  n.,  77;  440,  43  n.;  532,  58  n.,  63;  690,  41,  48,  48  n.,  58,  78,  79; 
717,  44;  746,  9,  9  n.,  11,  78;  775,  32  n.,  72,  79;  783,  9,  10,  47,  49,  78,  79;  805,  11; 
858, 10, 14  n.,  39,  40,  48,  48  n.,  58,  62,  63,  78,  79,  112;  885,  49,  63;  998, 14  n.;  1041, 
60  n.;  1122,54  n. 

Persa,  7,  10,  49,  82-84,  106,  109;  1,  12  n.,  15  n.,  39,  48  n.,  52,  55,  82,  84,  109,  HI;  7, 
15,  39,  40,  48  n.,  55,  57,  58,  82;  13,  45,  47,  49,  52,  54,  82,  84;  43,  12,  12  n.;  53, 
58  n.,  63,  82;  168,  10,  38,  48,  48  n.,  56,  57,  61,  83,  84,  102;  251,  15  n.,  33,  34,  48  n., 
50,  51,  53,  60,  63,  83,  84,  85;  272,  10,  15,  43,  44,  48  n.,  83;  273,  49;  280,  12;  400, 
58  n.,  83;  462,  14  n.;  470,  31,  34  n.,  48  n.,  50,  51,  83,  84,  85;  480,  46,  49,  83;  501,  8, 
\\',683,  14 n.,  83;  753,  4,  14  n.,  32,  37,  42  n.,  48  n.,  61,  79,  83,  84,  85,  110,  111,  112, 
114, 116;  763,  45,  48, 49;  777,  30,  32,  37,  48  n.,  84,  85,  87,  113, 114. 

Potnxdus  52  n.,  101,  102,  106;  201,  15  n.,  48,  59,  101,  102,  113;  261,  12;  449,  13  n., 
58  n.,  65;  504,  13  n.;  711,  14  n.;  796,  14  n.;  950,  33  n.,  34  n.,  35  n.,  54  n.,  58  n., 
60  n.;  1120,  14  n.;  1174,  15  n.,  47,  48,  59,  101,  102,  113;  1201,  12. 
Pseudolus  7,  8,  10,  53  n.,  71-74,  104,  105,  106;  133,  4,  42,  44,  48,  48  n.,  56,  57,  71,  73, 
106,  113;  230,  49,  71,  73;  265,  11,  71,  415,  59  n.,  71;  562,  35  n.;  574,  15  n.,  32, 
48  n.,  71,  73;  594,  15,  43,  48  n.,  76;  604,  11;  667,  32  n.,  72,  73,  74;  767,  58  n., 
63,  64,  72,  73;  905,  13  n.,  38,  42  n.,  48,  48  n.,  57,  72,  73;  913,  44,  49,  72;  951,  11. 
72;  998,  8  n.,  105;  1017,  62  n.;  1103, 40, 48, 48  n.,  58,  72,  73,  74;  1124,  45;  1134, 12; 
1246,  13  n.,  33,  48  n.,  61,  72,  73,  74,  79,  112,  113;  1285,  46, 48,  49,  54,  73. 
Rudens  8,  52  n.,  85-87,  106;  83,  53  n.,  85;  185,  10,  15  n.,  27,  48  n.,  56,  85,  86,  87,  114, 
116;  220,  27,  48  n.,  56,  85,  86,  87,  114;  229,  46,  49;  259,  14  n.;  290,  58  n.,  404,  14; 
414,  14  n.;  485,  13  n.;  570,  112;  593,  15,  63,  87;  615,  15,  28  n.,  50,  51,  85,  87; 
660,  112;  664,  28,  48  n.,  86,  87;  676,  44,  49;  682,  11;  906,  14,  33,  34,  39,  48  n.,  50, 
51,  54,  86,  87;  922,  39;  938,  44,  49,  962,  11;  1191,  13  n.,  16  n.,  32  n.,  35  n.,  50,  51, 


Studies  in  the  Songs  of  Plautine  Comedy 


119 


86,  89.  1227,  14  n.;  1258,  40  n.;  1265,  87;  1281,  16  n.,  30  n.,  50,  51,  54  n.,  87; 

5/^/// 7'?o!'41  n.,  99,  100,  105,  106,  110;  1,  8,  15  n.,  47,  49,  52,  59,  99,  100;  48,  8, 

12  ^9    155   58  n.,  99,  100;  274,  30,  48  n.,  56,  57,  99,  100;  285,  31  n.;  315,  49; 

325   14  n  •  331   11;  339,  31  n.;  364,  44;  402,  14  n.,  33  n.,  34  n.,  35  n.,  59  n.,  100; 

410,  35  n.;  649,  15,  100;  655,  15,  33  n.,  50,  51,  100;  673,  35  n.,  62  n.;  683,  100; 

762,  100;  769,  9,  10,  48, 100,  106,  110,  112,  116. 
Trinummus  53  n.,  96,  97,  104-106,  112;  39,  53  n.,  96;  42,  41  n.;  ^^0,  42  n,  22J,  14  n 

39  48  n  55  96,  97;  276,  45,  96,  97;  301,  12,  96;  820,  10,  33,  33  n.,  34,  48  n.,  62, 

63*  97  112;  843,  58  n.,  998,  97;  1008,  31  n.,  58  n.;  1093,  14  n.,  97,  105, 1115,  12  n., 

32',  33',  43  n.,  48  n.,  97,  106;  1120,  11. 
Truculentus  16,  52  n.,  94-96,  106;  /,  35  n.,  94;  22,  13  n>  35,  39  n.  94  96;  P5,  42  44 

48, 48  n.,  56, 57, 94, 96, 102, 113;  115, 49;  129, 11 ;  209,  7, 9, 10, 42, 48, 48  n  94,  95, 

tt  1X3  256   li  n.  352,  14  n.;  448,  16  n.,  35,  38,  48  n.,  57,  94,  96;  465,  12,  96; 

m,  58'n.,  95;  551,  10,  42,  48,  48  n.,  57,  95,  104,  113;  577  41 ;  630   9  9  n  95; 

645   13  n.,  54  n.,  58  n.,  95;  699,  13  n.,  16,  33  n.,  50,  51,  62,  95,  96;  711,  42,  48, 

48  n.,  57, 95, 96, 113;  7/P,  45, 49;  7J0, 12, 95. 
Terence  3  4  16  17,  102,  103,  108.  Addphoi  59  n.;  299,  31  n.;  511,  17;  610,  16,  103, 

Z,^    AJria  3k,  31  n.;  481,  16,  17,  102;  625,  16,  103;  ^i^,  66.    £.n«c.^ 

232,  54  n.;  494,  66;  664,  66;  923,  66;  997,  65, 1043,  66.    Heauton503,  66;  55P  65; 

949,  65.   Hecyra  361,  66;  726,  66;  794,  65;  816,  66.    Phorrmo  59  n.,  179,  31  n.; 

Ji/'  66;  441, 66;  77<?,  66;  841, 31  n. 


